NOWs: Waschtage / Kumi*13 with Yves Mettler et al.

07. - 27. September 2020 / Nows

Man Ray, Moving sculpture, 1922

Waschtage

Installation

Parkplatz Zietenstrasse / Ecke Bülowstrasse

07. – 27. September, ganztägig

Klatsch mit Kuminist*innen: 10., 17. und 24. 09. von 17.00 bis 20.00 Uhr

Wehende Wäsche in einer Momentaufnahme. Ein Bild, das die Zeit einfriert: am Waschtag versammelten sich die Frauen zum Arbeiten und Reden. Das typische Geräusch beim Waschen – das laute Klatschen der ausgelaugten Wäsche, wenn der Schmutz auf dem Stein ausgeschlagen wird – bezeichnet auch das die Arbeit erleichternde Gerede, das Schwatzen und Lästern, – das Klatschen eben.

Klatsch ist eine unterschätzte Form der Wissensvermittlung. Die Klatschenden spekulieren über soziale, politische oder sexuelle Überschreitungen und genießen die Indiskretion, man testet soziales Verhalten von sich und anderen, man erfindet sich neu. Der Klatsch zirkuliert unkontrolliert zwischen Leuten, angeblich meist Frauen, er unterläuft subversive den öffentlichen Radar, Klatsch kann nicht zensuriert werden.

Versammeln wir uns zu nachbarschaftlichen Klatschtagen in der Zietenstraße.

An den Donnerstagen (10., 17. & 24.) sitzen diverse Kuminist*innen auf dem Waschplatz und bieten zwischen 17.00 – 20.00 Uhr Klatsch an und würden auch gerne welchen hören.

RESPEKT UND EIN HOCH AUF DEN KLATSCH !

Die Kumi*13 beteiligt sich hiermit an einem Nachbarschaftsprojekt der Initiative Kiez erFahren: Die Initiative hat 5 Parkplätze gemietet und die AnwohnerInnen zeigen dort Vorschläge, welche anderweitigen Nutzungen auf diesen 12 qm großen Autostellfläche denkbar wären.

SchöneFläche Nord ist ein Modul innerhalb des Mobilitätsprojektes Kiez erFahren, das das Bezirksamt Tempelhof-Schöneberg in Schöneberg Nord durchführt. Gemeinsam entwickelt mit hochC Landschaftsarchitekten, zeigen die fünf SchönenFlächen im September alternative Nutzungen von Parkflächen. Das Projekt wird gefördert durch das Bundesministerium für Umwelt, Naturschutz und nukleare Sicherheit im Rahmen der Nationalen Klimaschutzinitiative (NKI) im Förderstrang „Kurze Wege für den Klimaschutz“.

https://kiezerfahren.berlin

Kumi*13
– ein Hausprojekt in Selbstverwaltung –
Kurmärkische Str. 13
10783 Berlin

Vorheriger Eintrag

NOWs: Bottom Up by Malte Bartsch

07. - 26. September 2020 / Nows ⟶

Bottom Upsolo exhibition by Malte Bartsch Lemoyne Feldstrasse 121 8004 Zurich Opening 6 September, 2 – 7 pm Lemoyne is happy to announce Malte Bartsch’s (*1984) first solo show in Zurich titled Bottom Up. In this exhibition, the Berlin-based artist explores themes of innovation, labor and the relationship between man and machine that are recurrent in his œuvre. The so-called ‘bottom-up approach’ describes the optimization of work processes from ‘bottom to top’. In this process, an increased and thus more profitable work performance is achieved by giving employees the right of co-determination with regard to certain projects and processes, thereby stimulating their motivation. This process culminates in an apparent freedom that is particularly popular in times of tech start-ups, which have now grown into giants, and is part of their innovation-driven success. In his exhibition ‘Bottom Up’, Malte Bartsch discusses what technological progress, competition and labor can stand for in an age of technology and globalization. The measurability of success and optimization is questioned, as well as the inability of humans to deal with their own failure. Bottom UpEinzelausstellung von Malte Bartsch Lemoyne Feldstrasse 121 8004 Zurich Opening 6 September, 2 – 7 pm Lemoyne is happy to announce Malte Bartsch’s (*1984) first solo show in Zurich titled Bottom Up. In this exhibition, the Berlin-based artist explores themes of innovation, labor and the relationship between man and machine that are recurrent in his œuvre. The so-called ‘bottom-up approach’ describes the optimization of work processes from ‘bottom to top’. In this process, an increased and thus more profitable work performance is achieved by giving employees the right of co-determination with regard to certain projects and processes, thereby stimulating their motivation. This process culminates in an apparent freedom that is particularly popular in times of tech start-ups, which have now grown into giants, and is part of their innovation-driven success. In his exhibition ‘Bottom Up’, Malte Bartsch discusses what technological progress, competition and labor can stand for in an age of technology and globalization. The measurability of success and optimization is questioned, as well as the inability of humans to deal with their own failure.

Nächster Eintrag

NOWs: Towards No Earthly Pole by Julian Charrière

06. September - 03. Januar 2020 / Nows ⟶

Julian Charrière, We Are All Astronauts, 2013. Ausstellungsansicht Centre Culturel Suisse, Paris, Frankreich, 2014. Courtesy the artist © 2020, Pro Litteris, Zürich Julian Charrière: Towards No Earthly Pole Aargauer Kunsthaus Switzerland With Towards No Earthly Pole the Aargauer Kunsthaus is presenting the work of the Swiss artist Julian Charrière (b. 1987). The subject of travel as well as the actual expedition assume a central importance in his artistic practice. Time and again, he seeks out regions that have global significance for our past, present and future. For his latest, monumental film work Towards No Earthly Pole he journeyed to the most inhospitable parts of the planet: the Antarctic, Greenland and Iceland, but also extraordinary domestic topographies such as the alpine glaciers. The projection that lends its title to the solo exhibition allows the viewers to immerse themselves in fascinating ice landscapes, and transports them into a remote and deserted spot. It shows regions that we think we know thanks to collectively constructed images, but which very few of us have visited in person. The depiction of these places in Charrière’s feature-length film work astonishes with its deliberately subjective, poetic reproduction of these unusual territories. Other works in the exhibition—photographs, sculptures, videos and installations—are steeped in the artist’s curiosity about understanding the environment: photographs of idyllic palm beaches treated with radioactive material, floating globes stripped of their surface information, or pictures showing Charrière himself melting a glacier. For visitors, the tour of the exhibition becomes a journey through the cosmos of Charrière, who is both artist and researcher, and offers an engagement with the inseparable connection between humanity and nature. In cooperation with MASI Lugano Publication To coincide with the exhibition, in October a comprehensive publication (German/English) will be released on the subject of Julian Charrière’s latest film Towards No Earthly Pole. With essays by: Francesca Benini, Amanda Boetzkes, Katherine Brodbeck, Dehlia Hannah, Scott MacKenzie & Anna Westerståhl Stenport, Shane McCorristine, Nadim Samman and Katrin Weilenmann, as well as a conversation between the artist and the climate expert Konrad Steffen. Aargauer Kunsthaus, MASI Lugano, Dallas Museum of Art, and Mousse Publishing, ISBN 978-88-6749-434-7 Julian Charrière, We Are All Astronauts, 2013. Ausstellungsansicht Centre Culturel Suisse, Paris, Frankreich, 2014. Courtesy the artist © 2020, Pro Litteris, Zürich Julian Charrière: Towards No Earthly Pole Aargauer Kunsthaus Switzerland With Towards No Earthly Pole the Aargauer Kunsthaus is presenting the work of the Swiss artist Julian Charrière (b. 1987). The subject of travel as well as the actual expedition assume a central importance in his artistic practice. Time and again, he seeks out regions that have global significance for our past, present and future. For his latest, monumental film work Towards No Earthly Pole he journeyed to the most inhospitable parts of the planet: the Antarctic, Greenland and Iceland, but also extraordinary domestic topographies such as the alpine glaciers. The projection that lends its title to the solo exhibition allows the viewers to immerse themselves in fascinating ice landscapes, and transports them into a remote and deserted spot. It shows regions that we think we know thanks to collectively constructed images, but which very few of us have visited in person. The depiction of these places in Charrière’s feature-length film work astonishes with its deliberately subjective, poetic reproduction of these unusual territories. Other works in the exhibition—photographs, sculptures, videos and installations—are steeped in the artist’s curiosity about understanding the environment: photographs of idyllic palm beaches treated with radioactive material, floating globes stripped of their surface information, or pictures showing Charrière himself melting a glacier. For visitors, the tour of the exhibition becomes a journey through the cosmos of Charrière, who is both artist and researcher, and offers an engagement with the inseparable connection between humanity and nature. In cooperation with MASI Lugano Publication To coincide with the exhibition, in October a comprehensive publication (German/English) will be released on the subject of Julian Charrière’s latest film Towards No Earthly Pole. With essays by: Francesca Benini, Amanda Boetzkes, Katherine Brodbeck, Dehlia Hannah, Scott MacKenzie & Anna Westerståhl Stenport, Shane McCorristine, Nadim Samman and Katrin Weilenmann, as well as a conversation between the artist and the climate expert Konrad Steffen. Aargauer Kunsthaus, MASI Lugano, Dallas Museum of Art, and Mousse Publishing, ISBN 978-88-6749-434-7

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NOWs: Waschtage / Kumi*13 with Yves Mettler et al.

Waschtage

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