http://www.k-w-y.org kwy Mon, 30 Jan 2012 14:31:36 +0000 http://www.k-w-y.org en http://www.k-w-y.org/Time-Garden http://www.k-w-y.org/following/k-w-y.org/Time-Garden Mon, 30 Jan 2012 14:31:36 +0000 kwy 2697861 <img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P1 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P1 533px_o.png" data-mid="13695362" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P2 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P2 533px_o.png" data-mid="13695365" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P3 533px_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/Ben Allen- James Bae- Ricardo Gomes- Prem Krishnamurthy- Time Garden- 2012- P3 533px_o.png" data-mid="13695368" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/siteplan final to web-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/siteplan final to web-02_o.png" data-mid="13695379" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/plan final-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/plan final-02_o.png" data-mid="13695388" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/section final web_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/section final web_o.png" data-mid="16157695" border="0" align="left"/><img src="http://payload19.cargocollective.com/1/0/8813/2697861/ISO 2 final-02_800.png" width="800" height="533" width_o="800" height_o="533" src_o="http://payload19.cargocollective.com/1/0/8813/2697861/ISO 2 final-02_o.png" data-mid="13695408" border="0" align="left"/>Ben Allen James Bae Ricardo Gomes Prem KrishnamurthyTime Garden NYC AIDS Memorial Park Competition: honourable mention In Time Garden, we juxtapose two opposed yet equivalent qualities—the monumental and the temporal. AIDS is an ongoing matter of the present. Instead of approaching the park as a static gesture towards the past, our design incorporates a two-sided periscope for the projection of both historical and contemporary filmic works addressing AIDS related themes. We envision the park itself as an open platform to memorialize the victims, while also allowing for new ideas and artworks to vivify the space. As the history of the epidemic is still unfolding, the design serves as a vessel for future responses: an ever-changing, living monument. The design of the park mirrors the shape of its boundaries, and focuses upon three connected, concentric triangular planes that serve as sloping pathways. A gentle ramp descends from street level to a lawn amphitheater at the center—a sunken garden that functions as a protected space for contemplation, as well as the seating area for public screenings. The above grade built elements offer both visual and aural respite and refuge from the cacophony of the city. The simple vocabulary of the design is augmented materially by a fine white steel mesh upon the walls and glazed elements, which affords views of the garden while also providing protection from direct sunlight. From both the street and the garden, the monolithic form of the screen structure is the focus. This tower serves as a solemn and universal meditation on the crisis during the day, but also functions as a palimpsest for remembrances at night. Like a votive candle, the light of the screen gives motion to the memories of those already lost. A sequence of three linear gallery spaces form a spiraling perambulation within the structure. Beginning at street level and culminating one level below, the galleries double as exhibition, learning and meditation spaces; their flexibility allows for various uses to develop. The penultimate space, the tower, is a darkened periscopic chamber reflecting the projected images. When the screen is folded back this room serves as a stage for performance. The openness of our design should ultimately be reflected in curatorial programming that combines historical and educational documents on the AIDS crisis, films by artists who were victims of the disease, as well as contemporary artworks that reflect on longing, loss, community, and perseverance. These diverse materials, themselves of different temporalities, will offer engaging views to both the casual passer-by and the dedicated visitor. Time Garden is a continuous archive, a staging ground for purpose-made public works to be displayed in the future. With this new platform for outdoor projection and recreation, we are proposing to create a unique park where the local community can freely and openly contemplate, mourn, and celebrate the brave responses to AIDS and the ongoing questions it poses. Technical Description by Edward P. Arenius and Christopher S. Darland The main visual element of Time Garden is the tower, which incorporates exterior-rated, front projection screens, mounted flush on its surface. Video content for Time Garden is provided by Digital Light Processing (DLP) projectors, which are housed in a weather-protected module at the rear of the amphitheater area. The DLP projectors produce a brighter image than standard LCD projectors. The projectors are controlled by a central computer system and are fully programmable. The sound system, integrated with the video projection system, consists of main loudspeakers mounted on the tower to provide “source” sound for video program on the screens, while distributed loudspeakers throughout the park will enhance speech intelligibility, help reduce overall sound levels emanating from the park and improve the sound quality uniformly across the park. Because Time Garden is adjacent to 7th Avenue, and is located within a popular area for shopping and dining, there will be a substantial amount of noise from vehicular traffic, pedestrian traffic, shops and restaurants. The siting of the architectural elements will abate exterior noise and plantings along the border walls will help absorb exterior noise. Within the park the inclined diffusive wall surfaces and the architectural meshes will reduce noise. The diffusive surfaces will break-up and disperse sound as it reflects off them, while the architectural meshes, planting and trees will absorb sound energy. Loudspeakers distributed throughout will enhance intelligibility and reduce the need to increase the volume of the main loudspeakers – this has the benefit of reducing sound emanating from the park and intruding on the surrounding apartments, shops, and restaurants. Consultants: Edward P. Arenius and Christopher S. Darland, Artec Consultants Inc Jens Gehrcken, Visualisierung+Architekturfotografie Previous / Next project http://www.k-w-y.org/Vault http://www.k-w-y.org/following/k-w-y.org/Vault Thu, 26 Jan 2012 13:27:29 +0000 kwy 2403569 <img src="http://payload5.cargocollective.com/1/0/8813/2403569/111027 octogons 600c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/111027 octogons 600c_o.png" data-mid="13562055" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/111027 patterns 600c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/111027 patterns 600c_o.png" data-mid="13562058" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 04c2_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 04c2_o.png" data-mid="13563368" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 05c2_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 05c2_o.png" data-mid="13563373" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/plan c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/plan c_o.png" data-mid="13562062" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/elevations c_800.png" width="800" height="476" width_o="800" height_o="476" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/elevations c_o.png" data-mid="13562056" border="0" align="left"/>Ricardo GomesNorbert PalzVault Research project Digital and Experimental Design, Universität der Künste, Berlin The structure was designed in order to test a new three-dimensional printing technique. Being an additive process, the material, albeit reinforced with natural fibres, has low tensile strength and a compression only vault structure was preferred. Additionally, size limitations imposed a volume of 1 x 1 x 2 metres and with such constraints a vault would still manifest an architectural scale. The first tests were derived from traditional vault typologies and promptly developed into a free form geometric research that would best explore the technology's potential. Block Research Group's software was used to assist with the form-finding process while also ensuring that the material was always used in compression. Various plan outlines were tested and octagonal geometries that would produce a distinctive transition from columns to arches were researched. A sequence of models were produced in order to develop the form. A harmonic progression within the octagon determined the base grid. Since a faceted geometry would interfere with the continuity of the pattern, a squircle (a special case of superellipse) was eventually chosen as the underlying principal for the vault. This was then interpolated to define the ribbed structure. Since a degree of diversity in the pattern was necessary (to analyse both the form-finding as well as the printing process), three different arches were introduced: two catenary curves of differing heights and a third, which was obtained by diagonally dividing the vault. The final result could be described as a quasi threefold rotational symmetry. <img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 01_18_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 01_18_o.png" data-mid="12149697" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 02_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 02_o.png" data-mid="12149804" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 03_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 models 03_o.png" data-mid="12149805" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 1 2011 pisa 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 1 2011 pisa 800px_o.jpg" data-mid="12146707" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2 2011 pisa 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2 2011 pisa 800px_o.jpg" data-mid="12146709" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 3 2011 pisa 800px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 3 2011 pisa 800px_o.png" data-mid="12146712" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 4-5 2011 pisa 800px_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 4-5 2011 pisa 800px_o.png" data-mid="13563680" border="0" align="left"/> Digital and Experimental Design, new workCurated by Peter Spitzley, introduction by Oliver Elser 2 - 28 November 2011 Architekturgalerie Kaiserslautern (Assistants: Bernd Miosge and Nandini Oehlmann) The exhibition presents recent work from the department of Digital and Experimental Design, Universität der Künste, Berlin. The objects, models and drawings explore creative applications of large, architectural scale additive manufacturing. D-shape, a technology launched five years ago by the Italian developer Enrico Dini, allows for the materialisation of digital three-dimensional volume: natural stone granulate is layered with a binder which leads to a gradual strengthening of the object. The layer tectonics allows the production of complex three-dimensional morphologies by subdividing geometry in simpler horizontal planes – differentiated objects which would be difficult to produce through continuous manufacturing technologies can thus be obtained. The materiality experienced with the outcome of this production method is not in keeping with classical precision manufacturing (which is usually associated with digital processes). It presents anomalies specific to material and fabrication – resulting in a more complex relationship between digital content and produced objects. The exhibition displays a dual perspective: on the one hand it introduces modern form-finding methods to create novel morphologies (which can be obtained by parametric and generative design processes), and on the other hand it focuses on the autonomy that the material offers in the representation and production of experience. <img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 01_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 01_o.jpg" data-mid="12148613" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 06_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 06_o.jpg" data-mid="12148644" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 02_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 02_o.jpg" data-mid="12148616" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 04_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 04_o.jpg" data-mid="12148629" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 03_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 03_o.png" data-mid="12148624" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 05_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 05_o.png" data-mid="12148641" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 07_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 07_o.jpg" data-mid="12148648" border="0" align="left"/><img src="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 09_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload5.cargocollective.com/1/0/8813/2403569/ricardo gomes- norbert palz- vault 2011 opening 09_o.jpg" data-mid="12148848" border="0" align="left"/> Previous / Next project Berlin | Kaiserslautern http://www.k-w-y.org/5-Curators-5-Cities http://www.k-w-y.org/following/k-w-y.org/5-Curators-5-Cities Sat, 20 Aug 2011 13:43:57 +0000 kwy 1752035 <img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220343_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220343_o.png" data-mid="14332017" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220433_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220433_o.png" data-mid="14332022" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220539_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC L1220539_o.png" data-mid="14332030" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/AHN 01 L1220361_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/AHN 01 L1220361_o.png" data-mid="14334417" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/AHN 02 L1220620_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/AHN 02 L1220620_o.png" data-mid="14334428" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/WS 01 L1220520_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/WS 01 L1220520_o.png" data-mid="14334453" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/BLDNG P1020351_800.png" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/BLDNG P1020351_o.png" data-mid="14334654" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_4093_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_4093_JB exhibition view 800px_o.jpg" data-mid="9567884" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3882_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3882_JB exhibition view 800px_o.jpg" data-mid="9567882" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3877_JB B exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3877_JB B exhibition view 800px_o.jpg" data-mid="9567880" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3856_JB exhibition view 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1752035/_MG_3856_JB exhibition view 800px_o.jpg" data-mid="9567879" border="0" align="left"/> Andrea Aquilanti Jan Bünnig Bang Geul Han Osman Khan Scott Kiernan Regine Kolle Mores McWreath Anders Hellsten Nissen MeeNa Park Shanta Rao Pietro Ruffo Mauro Di Silvestre Wolfgang Stiller Yangachi 5 Curators 5 Cities Curated by Alberto Dambruoso, Jin Hwang, Jennifer Junkermeier, Clodagh Keogh, Shinnie Kim and Franziska Leuthäußer July 2011 - July 2012 Berlin, Paris, Rome, Seoul, New York 5C5C is a group exhibition presenting the work of 14 artists working in five cities: Berlin, New York, Paris, Rome and Seoul. The participating artists were selected by six curators, at least one based in each of those cities. Combining five distinct curatorial concepts, the show explores individual artistic practice and production in a global context. By the sheer nature of the project, the works selected shed light on current concerns when presenting artwork to the global art community and demonstrate the ways in which the prevailing contemporary art scene is constructed through a conjunction between the global and the local. The curators of 5C5C were thrown together by circumstance and the will and wit of two abettors of the art world. The project called upon the curators to select between two and four emerging to mid-career artists from their respective cities whose work exemplifies the "new" art being produced there. From here, dialogue between the curators ensued, involving intense interaction and occasionally requiring a leap of faith to steer the project to its final destination. Much communication, discourse and exchange took place at a distance, across the waves and often thanks to the World Wide Web. The exhibition veered away from one overarching theme in favor of diverse themes, providing an alternative format where open-ended meaning was developed by positioning different curatorial concepts side by side, allowing for a comparative study of contemporary international art. The Berlin concept aligns the city’s rich art history with the works of contemporary Berlin artists, placing them along the same time line as their predecessors, but setting them apart as citizens of cross-border and cross-cultural globalization. The New York concept examines freedom of choice as a dilemma, showcasing artists that question the ambiguity created by America’s current economic and social conditions. Paris affirms the existence of individual art practice as being distinct and independent of prevailing movements or trends. The Rome concept presents artists whose work and research embody the attributes of Italian contemporary art—defined by a close relationship between tradition and innovation; the global and the local-global and created through the use of various mediums in a hybrid of styles and techniques. The Seoul concept presents artists as being grounded in a worldview in which the whole is composed of local individual elements, each with its own significance and autonomy. The five different concepts reflect local concerns in a global sphere. This positioning and curatorial concern also extends to the placement of artworks within the exhibition as it moves from city to city. Each 5C5C exhibition is tailored to fit each venue in which it is displayed. The title “5C5C” is as much a reference to the various curatorial concepts that emerged as it is to the five cities represented. The absence of a subtitle reflects the open-ended dialogue and the interchangeable and free interpretation that the project aimed at provoking. 5C5C is reflective of our time. It is not conclusive, acting instead as a point of departure—the beginning of a dialogue. Contact: 5c5cities@gmail.com With the generous support of: <img src="http://payload.cargocollective.com/1/0/8813/1752035/Arts Council Korea 33px.png" width="64" height="33" width_o="64" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Arts Council Korea 33px_o.png" data-mid="14016214" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/CIAC 33px.jpg" width="67" height="33" width_o="67" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/CIAC 33px_o.jpg" data-mid="9004991" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/Embassy 33px.jpg" width="104" height="33" width_o="104" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Embassy 33px_o.jpg" data-mid="9004992" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/incontri 33px.jpg" width="132" height="33" width_o="132" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/incontri 33px_o.jpg" data-mid="9004993" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/KT-G 33px.png" width="124" height="33" width_o="124" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/KT-G 33px_o.png" data-mid="14016216" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/schlien 33px.jpg" width="102" height="33" width_o="102" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/schlien 33px_o.jpg" data-mid="9004994" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/Seoul Foundation for Arts and Culture S 33px.png" width="125" height="33" width_o="125" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/Seoul Foundation for Arts and Culture S 33px_o.png" data-mid="14016218" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1752035/spedart 33px.jpg" width="41" height="33" width_o="41" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/1752035/spedart 33px_o.jpg" data-mid="9004995" border="0" align="left"/> Previous / Next project Berlin | Paris | Rome | Seoul | New York 5C5C http://www.k-w-y.org/Mixmaster http://www.k-w-y.org/following/k-w-y.org/Mixmaster Wed, 06 Jul 2011 20:26:58 +0000 kwy 1689660 <img src="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- mixmaster- 2011- 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- mixmaster- 2011- 565px_o.jpg" data-mid="12196926" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- concrete painting -1 2011- 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- concrete painting -1 2011- 565px_o.jpg" data-mid="8311184" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- concrete painting -10 2011- 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- concrete painting -10 2011- 565px_o.jpg" data-mid="8311177" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- mixer- 2011- 565px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/1689660/Anders Hellsten Nissen- mixer- 2011- 565px_o.jpg" data-mid="8311171" border="0" align="left"/>Anders Hellsten NissenMixmaster August 2011 DADA Post, Berlin In his exhibition Mixmaster at DADA Post, Anders Hellsten Nissen exposes the character of a common concrete mixer. The purpose is to mix the materials as the drum rotates. With each rotation, the lifted material drops back into the mixer at the bottom of the drum and the cycle starts again. The concrete mixer produces moving images which are translated into concrete stills - free of any symbolical association with reality, arguing that lines and colours are concrete by themselves. Previous / Next project http://www.k-w-y.org/Pese-et-Vainque http://www.k-w-y.org/following/k-w-y.org/Pese-et-Vainque Mon, 07 Mar 2011 09:02:35 +0000 kwy 1101007 <img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 02_800.jpg" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 02_o.jpg" data-mid="5286706" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 07_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 07_o.jpg" data-mid="5286202" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 08_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 08_o.jpg" data-mid="5286205" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 09_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 09_o.jpg" data-mid="5286213" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 011_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 011_o.jpg" data-mid="5286222" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 017_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 017_o.jpg" data-mid="5286261" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 012_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 012_o.jpg" data-mid="5286225" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 013_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 013_o.jpg" data-mid="5286242" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 014_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 014_o.jpg" data-mid="5286248" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 016_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 016_o.jpg" data-mid="5286255" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 019_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 019_o.jpg" data-mid="5287015" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 018_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 018_o.jpg" data-mid="5286264" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 021_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 021_o.jpg" data-mid="5287052" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 03_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 03_o.jpg" data-mid="5286184" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 05_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 05_o.jpg" data-mid="5286198" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 04_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 04_o.jpg" data-mid="5286192" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 020_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/1101007/gianluca malgeri- pese et vainque- 2011 020_o.jpg" data-mid="5287025" border="0" align="left"/>Gianluca MalgeriPese et Vainque Organised by Tuba Isseven and Ricardo Gomes January - February 2011 Galerie Artist, Istanbul (photographs by Lorenzo Bartoli) A quasi-archaeology of love by Anna Engberg-Pedersen Ferdinand de Lesseps: Oh, Eugénie, darling, I'm leaving for Egypt in an hour and forty-five minutes. Will you marry me? Countess Eugénie de Montijo: What? Ferdinand: I'm going there as secretary to the Consulate. Marry me, come with me. Rene's going for the license. Eugénie: What license? What are you talking about? Ferdinand: The marriage license! Quick, pack your things, we've just time to get to the church. Eugénie: But I couldn't possibly do a thing like that, you know I couldn't... From Suez, a 1938 Hollywood production starring Tyrone Power and Loretta Young as Ferdinand and Eugénie. Eugénie de Montijo, a countess of Spanish origin, advances to the French throne in 1853 as the wife of Napoleon III, ruler of the Second French Empire and a reputed womanizer. In 1869, Empress Eugénie, European style icon, devout Catholic and conservative, travels to Suez to shed light on the inauguration of the Suez Chanel, a project initiated and led by the ardent entrepreneur Ferdinand de Lesseps, her long-time acquaintance and, so the film has it, former lover. Suez – possible setting for a revival of their impossible love. Eugénie and Sultan Abdülaziz. Public figures, exposed in all directions, but sharing a love almost imperceptibly nestled within the love story. In 1869 Eugénie, on a courtesy call, meets Abdülaziz in Istanbul before continuing to Suez. An intimate letter may have changed hands. Words uttered. Upon her departure from Istanbul, the Sultan presents her with a costly sword for her husband Napoleon. The engraving runs: Pese et vainque. Pressurize and conquer. Pronounced in Turkish: pezevenk – son of a bitch. What language did he speak? What fires were kindled? The emotional backdrop remains obscure. Dig below Hollywood glamour, decade-spanning love, power and European politics, repression and action. This is no excavation expedition, no standard archaeological dig. Take a trip to the inside where evidence and hard facts are substituted for soft allusions and traces, remnants deftly reorganised to speak a different language, one steeped in memory. This is the Malgeri method. By extracting and recovering the artist composes. He excavates objects, characters, sentiments, words, fragments of narratives, mundane or precious, old or new, from cultures and sites well-known or recently encountered, and welds them into suggestive atmospheres. He tinkers on the light framework of a story of Occident (Occidental Tower) and Orient (Oriental Tower), of a Sultan and an Empress, of public appearance and half-disclosed passion, of seeming and being, of the city of encounters, constantly in transformation around the waters of the Bosphorus. Istanbul – a cacophony of voices and ways and cultures and exchanges, alluring to the foreign visitor. For Luca Malgeri the past is never simply past. He reassembles it to speak to you in a voice you may not fully identify, one that is unnerving yet familiar and intimate. Like when love is involved. What really happened? Who cares! This is no whodunit. A story takes shape as you move from one trace to the next. It is not so much about a man and a woman as about that shared moment, charged with meaning, however fleeting. Reality is with you. Previous / Next project http://www.k-w-y.org/Soft-Power http://www.k-w-y.org/following/k-w-y.org/Soft-Power Tue, 25 Jan 2011 20:24:39 +0000 kwy 940773 <img src="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Dickkopf- 2007 800px_800.jpg" width="800" height="550" width_o="800" height_o="550" src_o="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Dickkopf- 2007 800px_o.jpg" data-mid="4696210" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Fisch- 2007 800px_800.jpg" width="800" height="550" width_o="800" height_o="550" src_o="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Fisch- 2007 800px_o.jpg" data-mid="4696211" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Kfer- 2007 800px_800.jpg" width="800" height="550" width_o="800" height_o="550" src_o="http://payload.cargocollective.com/1/0/8813/940773/Oliver van der Berg- Windkanalmodell Kfer- 2007 800px_o.jpg" data-mid="4696213" border="0" align="left"/>Oliver van den BergWindkanalmodell Dickkopf, 2007 Windkanalmodell Fisch, 2007 Windkanalmodell Käfer, 2007 Since the end of the Cold War and the subsequent opening of the international environment, the pursuit of national interests abroad through hard power has come under increasing examination. The use of military force on foreign soil has in particular been criticised. The high profile examples of Iraq and Afghanistan providing fuel to arguments that such an approach cannot succeed in the complex tasks of nation building and fighting terrorism. Within this context, the concept of soft power and the use of cultural diplomacy have increasingly been put forward as alternative or complementary approaches. Academy for cultural diplomacy, 2010 <img src="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 01 800px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 01 800px_o.jpg" data-mid="4514556" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 02 800px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 02 800px_o.jpg" data-mid="4514560" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 03 800px x 533px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Bewegung Nurr - Robert Sokol- Uprise- 2010 03 800px x 533px_o.jpg" data-mid="4514667" border="0" align="left"/>Bewegung Nurr and Robert SokolUprise, 2010 War is no longer defined in purely military terms, but is also waged with the help of non-military, informative and psychological methods called “psychological warfare” or “cultural war”. These methods have a long history. The American military strategist Liddell Hart had already developed the strategy of indirect approach prior to the Second World War. The American and British armed forces made use of “psychological warfare” against Germany during the Second World War, and later on it was used to re-educate the German people. Peter Bachmaier, 2011 <img src="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008 (2)- 800px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008 (2)- 800px_o.jpg" data-mid="4574743" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008 (3)- 800px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008 (3)- 800px_o.jpg" data-mid="4574746" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008- 533px_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/0/8813/940773/Wolfgang Stiller- Matchstickmen- 2008- 533px_o.jpg" data-mid="4576559" border="0" align="left"/>Wolfgang StillerMatchstickmen, 2008 The topic of integration and media exposure raises the subject of ‘soft power’ and the questions: how is China perceived by the non-Chinese world? Does China generate goodwill, or antipathy? Does the Chinese leadership consciously generate soft power, or is it a more spontaneous outcome of economic and artistic activity? Alan Hunter, 2009 <img src="http://payload.cargocollective.com/1/0/8813/940773/surrend- dusken- 800px_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/940773/surrend- dusken- 800px_o.jpg" data-mid="4576613" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/surrend- endlosung- 565px.jpg" width="399" height="565" width_o="399" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/940773/surrend- endlosung- 565px_o.jpg" data-mid="4515346" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/surrend- iran- 565px.jpg" width="400" height="565" width_o="400" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/940773/surrend- iran- 565px_o.jpg" data-mid="4515347" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/surrend- npd- 565px.jpg" width="401" height="565" width_o="401" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/940773/surrend- npd- 565px_o.jpg" data-mid="4515348" border="0" align="left"/>SurrendDusken er tilbage, 2010 Endlösung, 2010 S-W-I-N-E, 2006 NPD, 2007 From Facebook postings to political cartoons, social media is seen by many diplomats and extremists as a weapon of "soft power" in the war to win the hearts and minds of people. CBS News, 2011 <img src="http://payload.cargocollective.com/1/0/8813/940773/Christine Weber- parade_5- 2009- 800px_800.jpg" width="800" height="524" width_o="800" height_o="524" src_o="http://payload.cargocollective.com/1/0/8813/940773/Christine Weber- parade_5- 2009- 800px_o.jpg" data-mid="4597320" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/940773/Christine Weber- parade_5- 2009- 800px_800.jpg" width="800" height="524" width_o="800" height_o="524" src_o="http://payload.cargocollective.com/1/0/8813/940773/Christine Weber- parade_5- 2009- 800px_o.jpg" data-mid="4597320" border="0" align="left"/>Christine Weberparade_5, 2009 The US was once the undisputed global powerhouse. Now it is under threat from contenders who use the influence of culture and lifestyle to fight for global economic and political dominance. This political manipulation is referred to as soft power – achieving what you want by attracting and persuading others to adopt your customs - thriving on control, not force. BBC World Service, 2010 Soft Power Organised by Franziska Leuthäußer and Alekos Hofstetter January - February 2011 Galerie Kvant, Berlindownload press release Previous / Next project http://www.k-w-y.org/Circular-escalator http://www.k-w-y.org/following/k-w-y.org/Circular-escalator Sun, 07 Nov 2010 19:00:23 +0000 kwy 84926 <img src="http://payload.cargocollective.com/1/0/8813/84926/plan_800.jpg" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/8813/84926/plan_o.jpg" data-mid="566667" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/84926/elev front grey_800.jpg" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/8813/84926/elev front grey_o.jpg" data-mid="567089" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/84926/elev side grey_800.jpg" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/8813/84926/elev side grey_o.jpg" data-mid="567094" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/84926/elev back grey_800.jpg" width="800" height="565" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/8813/84926/elev back grey_o.jpg" data-mid="567027" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/84926/axo_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/84926/axo_o.jpg" data-mid="566510" border="0" align="left"/>Ben Allen James Bae Jan Bünnig Ricardo Gomes Circular escalator Through our research of the City of Perth’s master plan, the public success of the revitalization of Forrest Place not only depends upon the current restructuring already under way in the vicinity, but also upon the creation of a new site-specific structure that serves as a focal centerpiece to the Forrest Place square. The intended purpose of our design is to create an elevated, fully circular steel escalator on the project site that is at once visually sui generis while also being socially encompassing. The end-product, if completed, will help to establish a memorable destination point for all members of society to enjoy. The circular escalator is at once a model of art as it is architecture. As collaborators on various projects that have often sublimated these two fields into one - at times, into something else altogether - the design we have produced exemplifies our understanding of public commissions as being uniquely sensitive to the environment in which it is part of. As such, our design for Forrest Place is to introduce a geometric element that is presently not found in the square: a perfect circle. Fabricated in stainless steel with a diameter of 14 meters, the escalator will tilt and rise eight meters from street level, being fixed at only one point upon the plane. The visual effect will be one that accentuates the three dimensional aspect of the circle, while also stressing the sculpture’s monumentality by its hieratic scale. At its position and elevation at the axis of Forrest Place and Wellington Street, the escalator should be mostly viewable by pedestrian and street traffic nearing it along Wellington, and by all people walking along Forrest Place from Murray Street to Perth Station. The perfect circle is one of the most elemental shapes that is instantly recognizable to consciousness. It is also one of the more abstract shapes not generally found to occur in nature. Throughout the world, public installations of fountains and sculptures have used a circular base to proscribe an area that infers a demarcation of civic place, creating a social meeting point in urban areas. By using the shape of the circle as the fulcrum of the project area, the escalator itself references the history of such public monuments. However, what our design does, we hope, is minimize what these structures invariably do - that is, make it specifically bound, both visually and emotionally, to a particular moment in history. Our design, by utilizing technology and emphasizing the elemental basis of its shape, is meant to “fit” in as a visual locus to the ever-shifting styles and whims of its environment. Considering the gravitas of adjoining architectural styles present on Forrest Place -and factoring in especially the early 20th Century, neo-classical architecture of the General Post Office- the escalator is partly intended by visual design to recall the progressive resonance of the Forrest Place square. History tells us that the realizations of the General Post Office building and the first step-type escalator followed near-parallel paths: the General Post Office was finally realized in 1923; Otis Elevator Company in America first mass produced their step escalators for international use in 1921. Both these elements came to fruition in the immediate post World War I era, where Utopian ideals of finding ways to make life easier were at a premium. As the central hub of Perth’s financial district, the design of the escalator infers such a utilitarian purpose meant to ease travelling of distance and height; but with an entrance that is also its own point of exit, the circular course of the escalator’s “ride” suggests this as otherwise. Being a full-functioning escalator, we want to emphasize the gently absurdist nature of the piece. This sculpture was designed not only to serve as an iconic centerpiece for the square, but also as a piece that stimulates participatory interaction from its viewers, enjoyable to all cross sections of the population. Previous / Next project http://www.k-w-y.org/No-Food-No-Drink-No-Sticky-Lollies-1 http://www.k-w-y.org/following/k-w-y.org/No-Food-No-Drink-No-Sticky-Lollies-1 Sat, 23 Oct 2010 17:02:03 +0000 kwy 714250 <img src="http://payload.cargocollective.com/1/0/8813/714250/nofoodnodrinknostickylollies_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nofoodnodrinknostickylollies_o.jpg" data-mid="3359918" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl_o.jpg" data-mid="3359430" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl2_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl2_o.jpg" data-mid="3359444" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl3_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl3_o.jpg" data-mid="3359461" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl4_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl4_o.jpg" data-mid="3359478" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl5_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl5_o.jpg" data-mid="3359492" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl6_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl6_o.jpg" data-mid="3359499" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl7_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl7_o.jpg" data-mid="3359507" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl8_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl8_o.jpg" data-mid="3359524" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl9_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl9_o.jpg" data-mid="3359528" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl10_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl10_o.jpg" data-mid="3359532" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl11_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl11_o.jpg" data-mid="3359540" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl12_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl12_o.jpg" data-mid="3359564" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl13_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl13_o.jpg" data-mid="3359582" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl14_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl14_o.jpg" data-mid="3359612" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl17_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl17_o.jpg" data-mid="3359649" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl22_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl22_o.jpg" data-mid="3359713" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl23_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl23_o.jpg" data-mid="3359720" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl25_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl25_o.jpg" data-mid="3359757" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl26_800.jpg" width="800" height="565" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/0/8813/714250/nfndnsl26_o.jpg" data-mid="3359775" border="0" align="left"/>Jesper Carlsen Sophie Erlund Arnika Grosse Asmund Havsteen-Mikkelsen Sören Hüttel Jakob Jensen Gianluca Malgeri Howard McCalebb Line Sandvad Mengers Anders Hellsten Nissen Thomas Pausz and Neue Tische Nathan Peter Christian Sievers Matthias Sohr Rico Solinas Jürgen Trautwein Katherine Wallwork Nico Weber Matt Willard Curated by Franziska Leuthäußer 18 - 25 September 2010 STATTBAD Wedding, Berlin The exhibition NO FOOD NO DRINK NO STICKY LOLLIES took place at the former Stadtbad Wedding in September 2010. 19 artists from Denmark, Britain, France, Germany, Italy, and the United States dealt with the space and its former function as a public indoor swimming pool as well as with its transition into a new art venue in Berlin, Wedding. In 2002, swimming in Stadtbad Wedding came to an end. Eight years after its closure, a former public bathing institution became the central theme of the exhibition NO FOOD NO DRINK NO STICKY LOLLIES. The work of the participating artists was shown in the rooms which once served the purpose of bathing and the activities associated with it. STATTBAD, now a privately run art space, served for one week as a model for how art might be integrated in public institutions. The abandoned swimming pool, the emptiness and the deterioration of the building, erected in 1907, were central themes considered by the artists in the exhibition. The use of an existing space, art as a means of communication in everyday life and the discussion of current local developments were key aspects of the exhibition concept. The exhibition's title, discovered in Australia and imported to Wedding by Danish artist Anders Hellsten Nissen, originates from a handwritten sign hanging in the window of a newspaper shop in a small village in the state of Victoria. Eight years ago it might have hung at the entrance of Stadtbad Wedding as a primer of the rules which followed. In the changing rooms a sign forbidding the wearing of shoes: Barefoot zone, in the pool the safety instructions: Jumping from the sides prohibited. NO FOOD NO DRINK NO STICKY LOLLIES set new rules. Entering the pool prohibited! With the generous support of: © NO FOOD NO DRINK NO STICKY LOLLIES Previous / Next project <img src="http://payload.cargocollective.com/1/0/8813/714250/logo-danish-embassy-18x43.jpg" width="18" height="43" width_o="18" height_o="43" src_o="http://payload.cargocollective.com/1/0/8813/714250/logo-danish-embassy-18x43_o.jpg" data-mid="3360179" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/714250/239592-stattbad 43x43px.jpg" width="43" height="43" width_o="43" height_o="43" src_o="http://payload.cargocollective.com/1/0/8813/714250/239592-stattbad 43x43px_o.jpg" data-mid="3360177" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/8813/714250/AVB_schlien-3.jpg" width="102" height="33" width_o="102" height_o="33" src_o="http://payload.cargocollective.com/1/0/8813/714250/AVB_schlien-3_o.jpg" data-mid="3360178" border="0" align="left"/> http://www.k-w-y.org/Veil-of-Ignorance http://www.k-w-y.org/following/k-w-y.org/Veil-of-Ignorance Tue, 31 Aug 2010 22:01:46 +0000 kwy 548217 <img src="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 001_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 001_o.jpg" data-mid="2763816" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 002_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 002_o.jpg" data-mid="2763817" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 003_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 003_o.jpg" data-mid="2763818" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 004_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/548217/Call for Future - Veil of ignorance 004_o.jpg" data-mid="2763819" border="0" align="left"/>Ben Allen James Bae Jan Bünnig Ricardo Gomes Felix Meyer Anders Hellsten Nissen Veil of Ignorance Call for Future Competition: shortlisted entry The proposal is to hold a weekly discourse on the site of the now demolished Stadtschloß and Palast der Republik. The chosen site is heavily charged with history, having been the seat of the Brandenburg Electors, Prussian Kings, and German Emperors, as well as the site where the first German communist republic was declared in 1919. In contemporary history, it was the seat of the East German parliament between 1976 and 1989. The site is now a flat grass field and will remain as such for the foreseeable future since the planned rebuilding of the Stadtschloß has been postponed. Based on the Speakers Corner in London, and other such places of informal public forums found elsewhere globally, the idea of these ersatz sites is simple: speakers find a space and talk on a subject of their choice to an audience of whoever may be passing by. We will keep rules to a minimum; we propose no time limits. Cameras and recording equipment are a secondary concern; the raison d’être of these discussions is meant to be heard in its purest form, live and neither mediated, nor meant to be interpreted beyond the timing of the event. We propose to curate the first months of discussions – whilst always keeping the floor open. We envisage the direction of discussion to be anything from sociopolitical to philosophical, from debating basic rites to utopian aspirations, and the curatorship will lead it in this direction. It is –purposefully– an open-ended proposition. If a person or an entity has an idea within the merits of the project, we will actively encourage organisational partnerships. Our long-term goal is to create a programme of a self-perpetuating public forum, where people can express their convictions to an audience without the hassles of normative, bureaucratic planning. This is a discussion in the round, and en plein air: it will be free, and open to the public. Deriving from the quality of the thinkers we bring in, we see each speaker as a cell, splitting and leading to another. It is a growth cycle that will run its own course. On its basic premise, we are utilizing philosopher John Rawls theorem of the veil of ignorance from his classic study, Theory of Justice (1971). Rawls’ conjecture is simple: if a person from any class were to speak behind a shrouding veil without anyone knowing who she/he were, what would their true intentions be: would a person’s public speech be the same as their inward, and private thoughts? In our interpretation, as a twist to the veil of ignorance theory, we would suggest that speakers’ hold forum in a simple –if any– staging: the “veil” would be their unadulterated, commonplace position amongst other people in a public, casual setting. Instead of placing the speaker on a pedestal, and thus minimizing her/his place in the dialogue as an “expert”, this staging will induce a truer dialogue between the speaker and the audience, serving to question matters central to our proposal: the utopian vs the dystopic, the optimistic vs. the pessimistic. By reactivating this central location in the tourist heartland of Berlin, we hope to achieve a balance between Berlin-based speakers and thinkers from abroad. This space is currently a neutral one. By filling it with activity centring on global concerns, we can add to the experience of living in contemporary Berlin, as a central axis that represents multiple viewpoints of its citizens, both indigenous and naturalized. This programme is not about envisioning utopia, but about informing people about realities of experience that is not necessarily exposed in Berliners’ daily lives. We would like this to be seen as a way for Berliners to hear thinkers that are actively engaged in social criticism, but do not adhere specifically to a narrow focus of interpretation. Hence, our project will not only be about political discussions, but also about things that approximates the human conditions through peripheral means of expression. This could lead to programming that incorporates music or literary events. For example, one idea we are exploring is a staging of Samuel Beckett’s Krapp’s Last Tape, a play which emphasizes one man’s isolation from the human world. We believe it is important to investigate the nature of debate and question the status quo of existing democratic principals in the 21st century, and to discover if there is still room in a mature democracy such as Germany for open public discourse and heated discussion. Design We have considered a number of ways in which Schlossplatz park, our proposed site, could be organised and envisaged as the ideal physical manifestation of the forum. We want to create an environment that will inspire lively and inclusive discussion, and attract passersby to listen and participate. One design approach is ephemeral, utilising makeshift elements from simple, inexpensive materials or everyday objects which could be changed from week to week. The other approach would be more permanent and should be designed to remain on the site as a sculptural reminder of the activity that regularly takes place there. There are three main design strategies which may either be considered independently, in conjunction with one another, or as a sequential development realized fully over time. At present these ideas are still suggestions, but they give an indication of the routes we wish to explore if the project would move closer towards fruition. Line Perhaps the purest idea is to draw a simple line drawn on the ground, possibly a circle, which defines the speakers area. Each forum starts with a number of preselected speakers who give with their speeches, or partake in discussions. Subsequent invitees and audience members who wish to participate are then invited into this area in order to talk. The line also offers the easiest means by which to experiment with the spatial organisation – the space for talking could be defined as a semicircle, a horseshoe or as two halves- the line representing the symbolic division of opinions. Object We considered using a series of containers with different props to suit different types of forums, sizes of audience, and weather conditions. For example, this could be as simple as a shopping trolley (for use as a lectern), a few storage crates (for sitting / standing), and umbrellas (for rain / sun protection). We subsequently considered ways that a purpose-made container could serve a number of different functions, such as: chair, lectern, soapbox (plinth) or sculpture. If there were a number of these they could be jointed to form a larger plinth or a stepped seating area. The next development of this idea was to remove the functionality of the container and simply propose one or more objects which fulfil the functions of seat, lectern and plinth by a more sculptural means and which could even take on a different use if, for example, they were laid on there side or turned upside down. These objects or forms would both serve as an announcer of future forms and reminder of those past. Landscape In the longer term, we would like to investigate the construction of a permanent speakers plinth or more ambitiously, a series of stepped platforms (maybe a modular system) that could be used by talkers and audience members alike to discuss, debate, stand and/or sit on. The form of this “landscape” could be informed by the spatial “line” experiments described previously. These ideas would be the subject of later design studies. An initial idea was for a small informal circular or semicircular amphitheatre. In the end, we considered how the function of the forum might inform the long term urban design for the site and it's surroundings, reflecting on how it might be a unifying element for the park, which is currently divided into four quadrants, or the adjacent Schloßplatz site, or even the plinth of the Kainser Wilhelm Nationaldenkmal (and future Einheitsdenkmal). Regardless of all other considerations, this “monument” which we propose must in essence be a reflection on the necessity of the human form –living and thinking– on a place once devoid of categorical dissent. Previous / Next project http://www.k-w-y.org/We-Pictured-You-Reading-This http://www.k-w-y.org/following/k-w-y.org/We-Pictured-You-Reading-This Sun, 18 Apr 2010 00:56:22 +0000 kwy 342248 <img src="http://payload.cargocollective.com/1/0/8813/342248/f000 WPYRT 03_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f000 WPYRT 03_o.jpg" data-mid="1601598" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f001 Matthew Brannon - Soap and Water (Grey-Red)- 2008_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f001 Matthew Brannon - Soap and Water (Grey-Red)- 2008_o.jpg" data-mid="1601599" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f001 Matthew Brannon - Soap and Water (Red-Red)- 2008_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f001 Matthew Brannon - Soap and Water (Red-Red)- 2008_o.jpg" data-mid="1601601" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f002 Kerstin Bratsch WPYRT installation 12_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f002 Kerstin Bratsch WPYRT installation 12_o.jpg" data-mid="1601603" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f003 Munro Galloway - Nirvana- 2006_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f003 Munro Galloway - Nirvana- 2006_o.jpg" data-mid="1601605" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f003 Munro Galloway WPYRT installation 18_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f003 Munro Galloway WPYRT installation 18_o.jpg" data-mid="1601607" border="0" align="left"/><img src="http://transit.cargocollective.com/1/0/8813/342248/f004 Elín Hansdottir - Peripheral- 2007 BIG_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://transit.cargocollective.com/1/0/8813/342248/f004 Elín Hansdottir - Peripheral- 2007 BIG_o.jpg" data-mid="1651076" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f005 Hilary Harnischfeger - The Road East- 2007_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f005 Hilary Harnischfeger - The Road East- 2007_o.jpg" data-mid="1601613" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f005 Hilary Harnischfeger WPYRT installation 23_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f005 Hilary Harnischfeger WPYRT installation 23_o.jpg" data-mid="1601616" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f006 Dana Hoey - THAW- Julia- 2006 BIG_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f006 Dana Hoey - THAW- Julia- 2006 BIG_o.jpg" data-mid="1601617" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f007 James Howard WPYRT installation 03_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f007 James Howard WPYRT installation 03_o.jpg" data-mid="1601619" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f008 David Kearns WPYRT installation 04_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f008 David Kearns WPYRT installation 04_o.jpg" data-mid="1601620" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f009 Alex Klein_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f009 Alex Klein_o.jpg" data-mid="1601621" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f011 Dushko Petrovich WPYRT installation 05_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f011 Dushko Petrovich WPYRT installation 05_o.jpg" data-mid="1601622" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f014 Corinna Schnitt - Von einer Welt- 2007 BIG_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f014 Corinna Schnitt - Von einer Welt- 2007 BIG_o.jpg" data-mid="1601623" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f015 Jessica Slaven WPYRT installation 02_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f015 Jessica Slaven WPYRT installation 02_o.jpg" data-mid="1601624" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f016 Dan Torop - After Failure with Bird- 2002_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f016 Dan Torop - After Failure with Bird- 2002_o.jpg" data-mid="1601628" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f017 Amanda Trager WPYRT installation 06_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f017 Amanda Trager WPYRT installation 06_o.jpg" data-mid="1601632" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f017 Amanda Trager WPYRT installation 07_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f017 Amanda Trager WPYRT installation 07_o.jpg" data-mid="1601633" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f018 Roger White - Yellow Sun- 2009_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f018 Roger White - Yellow Sun- 2009_o.jpg" data-mid="1601634" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/8813/342248/f020 WPYRT 09_800.jpg" width="800" height="565" width_o="800" height_o="565" src_o="http://payload.cargocollective.com/1/0/8813/342248/f020 WPYRT 09_o.jpg" data-mid="1601636" border="0" align="left"/> Matthew Brannon Kerstin Brätsch Munro Galloway Elín Hansdóttir Hilary Harnischfeger Dana Hoey James Howard David Kearns Alex Klein Jessie LeBaron Dushko Petrovich Jon Pylypchuk Lara Schnitger and My Barbarian Corinna Schnitt Jessica Slaven Dan Torop Amanda Trager Roger White download pdf We Pictured You Reading This Organised by Paper Monument, curated by James Bae March - May 2010 Redux Contemporary Art Center, Charleston Matthew Brannon Soap and Water (Grey-Red), 2008 Letterpress print on paper, 24" x 30" Soap and Water (Red-Red), 2008 Letterpress print on paper, 24" x 30" The most worldly man I knew once attempted suicide, after a divorce. For weeks, he researched methods that would be the least taxing on others. He drank three bottles of brandy, tossed the keys to his bmw into the hedges, and placed a plastic bag over his head. His student found him the next morning, in his gray suit, quietly sleeping. There was a leak in the bag. In his obituary 27 years later, a colleague wrote that he never cared about his career, as far as I could tell. Kerstin Brätsch I spy, 2009 Artist’s books in bronzed box, 17" x 11" x 6" The basic principles of “stuff” since Lascaux have been: objectification, containability, conservability, registry, classification, and documentation - all concepts enabling the assignment of values to products. You’re in good shape as long as you package what you have. Munro Galloway Green River, 2006 Acrylic and oil on paper, 20" x 26" Nirvana, 2006 Acrylic and oil on paper, 20" x 26" Cold Roses, 2006 Acrylic and oil on paper, 20" x 26" A lost band, region, or state of mind. Buried in the foggy history of color, one group preceding another, more famous one, with harmony from a killer who egged on the inner-competitiveness of Ted Bundy. Elín Hansdóttir Peripheral, 2007 Halogen lights and colored gels, dimensions variable The all in one is the here, the you, and the there. Hilary Harnischfeger The Road East, 2007 Mixed media, 9" x 12" What tells you more about people than what they leave behind? The Byzantines laid tiles in coded mementos, painters made still-lives of a moment that never wanted to end. This is all about those things, plus a violence that completes. Dana Hoey THAW - Julia, 2006 Archival inkjet print, 20" x 16" A world of fugues—ash, freeze, thaw, flood, drought. With a befuddled gaze into kenoma, the subject makes her way into Civilization from the State of Nature: the only real reward of citizenship, as Hobbes observed, is the contractual right to sue one another at will. James Howard He Say Terrible Thing, 2010 Inkjet print, 24" x 36" The Option, 2010 Inkjet print, 36" x 24" The world is afflicted with billions of offers per day promising wealth, prosperity, reunion with lost loved ones, biological tumescence, and the enhancement of life experience through wire transactions. The Ice Age is introduced by the third-world wolves at your door. David Kearns D.P.’s Studio, 2010 Acrylic on paper, 30" x 22" Untitled 1-2-3, 2010 Acrylic on paper, 6 3/4" x 6 1/2", 9" x 7", 11 1/2" x 9" A writer recently said during an otherwise unexceptional reading in West Hollywood that an arsonist “paints” a religious experience - like Fra Angelico - when he sets the mountains on fire. But nothing in his paintings or his write-up in the Lives of the Artists have lead me to believe that the Dominican actually destroyed property, for divine gain, in a beatific reverie. Alex Klein Genesis Breyer P-Orridge, 2008 C-print, 22" x 26" We are inhabiting a refractory period that began with the last performance of Throbbing Gristle on May 29, 1981, at the Kezar Stadium in San Francisco, California. All the misprisions of the world are clarified in one gaze, granting everything. Jessie LeBaron Orchard, 2004 Oil on board, 12" x 12" The coastline of the New World: Air hanging from upper atmosphere Crops rushing forth from the deep A babe rushing forth from the womb. Dushko Petrovich Father Tongue, 2010 Oil on canvas, 11" x 14" It’s a memory, or mythopoeia. Early ancestors, pre-salvation men and their entourages, crossed landbridges in the arctic ice, scraping out life, and then eating it. The jaw that made fat less obstinate to the palate, the gnashing teeth that left tissue more pliant. Jon Pylypchuk Vietnam Vet, 2009 Mixed media, 24" x 24" x 8" This one makes me feel like 1) crying and 2) quitting my job. Brother, can you spare? “Vintage” means the availability of tourist visas to places your nation had once criminally bombed. Lara Schnitger and My Barbarian The Only One, 2010 Digital video Like some fearless voyeur, the work observes the contours of our inner prudes or deviants - whether our resident Emily Dickinson or the arched-brow piece of shit in all of us. Corinna Schnitt Von einer Welt, 2007 35mm film on DVD “Tape: …The way they went down, sighing, before the stem! (Pause.) I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side. Pause. Krapp’s lips move. No sound Past midnight. Never knew such silence. The earth might be uninhabited.” Jessica Slaven Bernhard 2, 2009 Watercolor on paper, 16" x 12" German tourism to Egypt doubled in the 1950s. Beyond the glamour, travelers noted the prevalence of poverty, rabid dogs, indigestible street food, pickpockets, and an overwhelming civic stench. Decades later, Kentucky Fried Chicken is available ten minutes from Cheops. Dan Torop After Failure with Bird, 2002 C-print, 20" x 16" The self’s continuity with nature, in acts of transport and momentary digressions, captured in the frame as if by a chance witness. Amanda Trager My Failing Father, 2002 Mixed media, 28" x 48" x 10 ½" She found her husband —a straitlaced, bone-straight, banker husband—at the local Maypole of the liberally well-to-do: a farmers market. Their’s was a world, I imagined, where shrimp were gamberetti and cars decidedly anti-Semitic. Now divorced, she had moved back to Los Angeles to be near her family with a child ready to enter kindergarten, the alimony check covering what would be $7,000 a quarter for a five-year old. “You know… we had it pretty well. And then he just kind of fucked it all up.” Roger White Green Sun, 2010 Acrylic on paper, 22" x 15" Red Sun, 2010 Acrylic on paper, 21" x 14 1/2" The promise of agency means reconciling what we think and feel to what we intend to say. Physics reminds us color isn’t material, but eidetic property. In March, with a horizon before six, a palaver between green skies and purple flares: wake up see the sun/what’s done is done Previous / Next project