NOWs: Habitat by Miriam Jonas und Andreas Greiner

24 March - 06 May 2018 / Nows

Miriam Jonas and Andreas Greiner: HABITAT

Within the frame of »Architectures of Segregation«

Curated by Nadia Pilchowski und Marie-Christin Lender

Opening reception on 23rd March 2018, 7pm

Bärenzwinger
Im Köllnischen Park
10179 Berlin

Paradigmatic for zoo architecture the structure of the Bärenzwinger (bear pit) provides a rigid separation between human and animal areas. As the first exhibition within the thematic frame of »Architectures of Segregation«, »Habitat« seeks to undermine these boundaries by means of two different artistic strategies that create new space for interpretation and experience.

Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material. Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible. What is the effect of an optimisation of the conditions within the cages while maintaining functionality?

The examination of growth, identity and transformation of living beings are central to Andreas Greiner’s artistic practice. Inside the Bärenzwinger, bioluminescent algae find their habitat within the architectural limitations of a sculpture. Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming – a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle. While algae already provide new solutions within the fields of industry and research, Fiebig herself is working on modular designs for living architecture

NOWs: Seven Exhibitions at Brandenburgischer Kunstverein

25 March - 03 June 2018 / Nows ⟶

Felix Kiessling, Weisses Arsen NOWs Seven ExhibitionsBrandenburgischer Kunstverein, Potsdam Ausstellungsort: Freundschaftsinsel Künstler und Künstlerinnen: Donald Bernshouse, Geta Brătescu, Nina Canell, Daniel Gustav Cramer, Haris Epaminonda, Markus Hoffmann, Johanna Jaeger, Felix Kiessling, Antje Majewski, Michael Müller, Das Numen, Katie Paterson. Kurator: Lukas Töpfer „Sieben Ausstellungen“ wirft auf siebenfache Weise Fragen über das Verhältnis von Idee und Ausführung, Konzept und Formwerdung auf: Was macht eigentlich eine Ausstellung aus? Was ist die Mindestvoraussetzung, unter der wir eine Ausstellung für eine Ausstellung halten? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Gibt es eine rote Linie, bei deren Überschreitung die Ausstellung keine Ausstellung mehr ist, weil sie mehr verbirgt als zeigt? Die „Konzeptkunst“ wird zum Systembaukasten, mit dem wir uns unsere Ausstellung beim Betrachten selber bauen. Die „Sieben Ausstellungen“ teilen eine einflussreiche Tradition: die „Conceptual Art“. Das Verhältnis von Idee und Umsetzung, Konzept und Formfindung steht im Zentrum. Felix Kiessling, Weisses Arsen NOWs Seven ExhibitionsBrandenburgischer Kunstverein, Potsdam Ausstellungsort: Freundschaftsinsel Künstler und Künstlerinnen: Donald Bernshouse, Geta Brătescu, Nina Canell, Daniel Gustav Cramer, Haris Epaminonda, Markus Hoffmann, Johanna Jaeger, Felix Kiessling, Antje Majewski, Michael Müller, Das Numen, Katie Paterson. Kurator: Lukas Töpfer „Sieben Ausstellungen“ wirft auf siebenfache Weise Fragen über das Verhältnis von Idee und Ausführung, Konzept und Formwerdung auf: Was macht eigentlich eine Ausstellung aus? Was ist die Mindestvoraussetzung, unter der wir eine Ausstellung für eine Ausstellung halten? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Gibt es eine rote Linie, bei deren Überschreitung die Ausstellung keine Ausstellung mehr ist, weil sie mehr verbirgt als zeigt? Die „Konzeptkunst“ wird zum Systembaukasten, mit dem wir uns unsere Ausstellung beim Betrachten selber bauen. Die „Sieben Ausstellungen“ teilen eine einflussreiche Tradition: die „Conceptual Art“. Das Verhältnis von Idee und Umsetzung, Konzept und Formfindung steht im Zentrum.

NOWs: Muster Raum. Façade – Face – Fake – Fakt

24 March - 25 April 2018 / Nows ⟶

NOWs Muster RaumFaçade – Face – Fake – Fakt Opening Saturday, 24 March 2018, 6 – 11 pm 24 – 25 March 2018 Sat 6 pm – 11 pm Sun 12 am – 8 pm Panel Talk Sunday, 25 March 2018, 3 – 4 pm Dr. Marc Wellmann, Anette Ahme, Dr. Ing. Helmut Maier, Stephan Klee Moderation by Jan Kage frontviews temporary at Schinkelsche Bauakademie Schinkelplatz 10117 Berlin With Christl Mudrak, Johanna Jaeger, Karl Ludwig Lange, Kathrin Köster, Markus Wüste, Nina Fischer & Maroan el Sani, Ole Meergans, Philip Topolovac, Raul Walch, Sandra Krause Gomez, Sinta Werner. Arranged und produced by Stephan Klee and Branislav Mihajlović. Historicising? Progressive? Intrepid? How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. Twelve artists will follow up on this question and move into the “Roter Saal” of the former Bauakademie at Berlin Mitte’s Schinkelplatz. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3:00 pm. Just like the face of a person belongs inseparably to his or her identity, the face of a city offers deep insights into it’s very own character. However, it’s surface doesn’t only record the ravages of time, but it does also become a document of human’s active interventions. Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken. Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. It’s effectiveness lies in it’s power to create a city’s future identity, rather than portraying an already consisting one. So what kind of Berlin is developing there right before our eyes? The exhibition »Muster Raum« doesn’t take this question to an historically neutral environment. It operates in a place that is shaping the city’s form and character decisively. The “Roter Saal” itself emerged as a product of a changeful history, that the artists will be dealing with via spatial interventions and conceptual works. It is an exact copy of the so called “Musterraum” (model room), that was located in Karl Friedrich Schinkel’s Bauakademie. Opening it’s doors in 1836, it got burned out during the last blows of WWII and was completely demolished as the GDR government decided to build their foreign office just at the spot in 1962. After Germany’s reunification the communist reminiscence had to yield and the areal was being left empty for several years. Only a scaffold was placed there to hint at the ground’s history, holding a tarpaulin that carries an imprint of the former Bauakademie’s appearance. This simulation of it’s façade surrounds the only room that has been reconstructed in it’s original form so far: the “Rote Saal”. But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: Do we want to take up Schinkel’s architectural heritage and go in for a radically new way of thinking about buildings? If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. The exhibition »Muster Raum« is up to inhibit this. We want a debate that is closely linked to the place where it belongs. Lisa Schmidt-Herzog — This project is made possible by Bezirks Kulturfonds Berlin and Karl Hofer Gesellschaft NOWs Muster RaumFaçade – Face – Fake – Fakt Opening Saturday, 24 March 2018, 6 – 11 pm 24 – 25 March 2018 Sat 6 pm – 11 pm Sun 12 am – 8 pm Panel Talk Sunday, 25 March 2018, 3 – 4 pm Dr. Marc Wellmann, Anette Ahme, Dr. Ing. Helmut Maier, Stephan Klee Moderation by Jan Kage frontviews temporary at Schinkelsche Bauakademie Schinkelplatz 10117 Berlin With Christl Mudrak, Johanna Jaeger, Karl Ludwig Lange, Kathrin Köster, Markus Wüste, Nina Fischer & Maroan el Sani, Ole Meergans, Philip Topolovac, Raul Walch, Sandra Krause Gomez, Sinta Werner. Arranged und produced by Stephan Klee and Branislav Mihajlović. Historicising? Progressive? Intrepid? How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. Twelve artists will follow up on this question and move into the “Roter Saal” of the former Bauakademie at Berlin Mitte’s Schinkelplatz. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3:00 pm. Just like the face of a person belongs inseparably to his or her identity, the face of a city offers deep insights into it’s very own character. However, it’s surface doesn’t only record the ravages of time, but it does also become a document of human’s active interventions. Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken. Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. It’s effectiveness lies in it’s power to create a city’s future identity, rather than portraying an already consisting one. So what kind of Berlin is developing there right before our eyes? The exhibition »Muster Raum« doesn’t take this question to an historically neutral environment. It operates in a place that is shaping the city’s form and character decisively. The “Roter Saal” itself emerged as a product of a changeful history, that the artists will be dealing with via spatial interventions and conceptual works. It is an exact copy of the so called “Musterraum” (model room), that was located in Karl Friedrich Schinkel’s Bauakademie. Opening it’s doors in 1836, it got burned out during the last blows of WWII and was completely demolished as the GDR government decided to build their foreign office just at the spot in 1962. After Germany’s reunification the communist reminiscence had to yield and the areal was being left empty for several years. Only a scaffold was placed there to hint at the ground’s history, holding a tarpaulin that carries an imprint of the former Bauakademie’s appearance. This simulation of it’s façade surrounds the only room that has been reconstructed in it’s original form so far: the “Rote Saal”. But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: Do we want to take up Schinkel’s architectural heritage and go in for a radically new way of thinking about buildings? If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation? And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. The exhibition »Muster Raum« is up to inhibit this. We want a debate that is closely linked to the place where it belongs. Lisa Schmidt-Herzog — This project is made possible by Bezirks Kulturfonds Berlin and Karl Hofer Gesellschaft

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NOWs: Habitat by Miriam Jonas und Andreas Greiner

Miriam Jonas and Andreas Greiner: HABITAT

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