OPENHAUS - open studios, performances, videos, installations and resident talks
The OPENHAUS is a regular public format that takes place every month in ZK/U, inviting audiences to connect with the hosted projects and to explore the process of its residency program.
Openhaus November - is the last chance to visit open studios in ZK/U this year! You will find site specific - in the context of Berlin - works and documentations. Performative lecture, artist talks, will take you to different social contexts, you will have a chance to experience an attempt to redefine spatial perception of museum. Photographic and video installations will take you to different parks and neighbourhoods of Berlin, streets of Taipei, kitchen of Mexico City and also ZK/U where you can find out how artists spent their free time while in residency.
Don’t miss the opportunity to meet the artists and researchers in residence and explore ZK/U’s space and surroundings, to ask questions, to discuss and to exchange ideas about ongoing projects and artistic practices.
This month with: Angela Louise Powell & Jessie Burrows / Brigita Kas / Caroline Vains / Evrim Kavcar / Florencia Vecino / Jessica Gnyp / Natalia Rebelo / Taeyeon Kim / Valentine Emilia Bossert / Cesar Cornejo / Club Al Hakawati_Theatre X / Ali Reza Hemat Boland & Marcos Torino / Shandor Hassan / Flaneur Magazine /
19.00-22.30 Open studios, installations & food
20.00 Guided tour
Photo (c) Brigita Kas
Angela Louise Powell & Jessie Burrows
Mixed media, installation, video performance 2018
A continuing point of interest for collaborative artists Jessie Burrows and Angela Louise Powell, and focus of their prior work in the GlogauAir residency, are the contemporary issues of privacy in the digital age. In an effort to highlight these issues within their practice the duo created a pseudo marketing startup ‘Persuasion Architects’, in which they address how digital and physical world marketing structures and mass data surveillance are used to influence our personal and social desires, as well as behaviours. Burrows and Powell toy with the disparity between behaviour in reality to that of its online parallels. The artists utilise aspects of these social online sources to open up discussion with their audience, harnessing the potential of the Apps and web-based tools they are critiquing.
'Im afraid Im basic. Personal getaway'
Video installation, plexiglass, 2018
‘I’m afraid I’m basic’ questions the emotional well-being of ours, nowadays in this high-tech world and how can it affect us, or how we should take care of ourselves.
The psychological and emotional wellbeing is the most important aspect recently, the same as the self-care - and making categorisations, or creating the the feeling of belonging makes us mentally calm and positive. Sensing a high interest of society and myself in beauty, wellness as well as SPA treatments and how it is being promoted online and offline as beneficial for our mental and emotional well-being artist questions if self-care can become selfish and when this happens?
Video installation suggests a meditation for level-up emotional wellness for yourself as well as suggest a bit voyeuristic view of taking self-care as this is considered private and personal ritual
Sketches towards a house of dis-consensus: democratic spatial typologies for a post-migration city
Small scale models, drawings, installation, 2018
Artists Caroline Vains project during the residency at ZK/U is called The Guesthouse Project #4. It focuses on migration, hospitality and questions of integration in the context of Berlin. During the month of September, artist initiated a series of 14 Politics Performance workshops with a diverse group of performers, dancers, artists and others - local, international, migrant, newcomer – at Coop Campus in Neukölln. Caroline Vains with partners used performance methods of physical and political theatre as well as scenography to explore the psychology of intercultural space, democratic interaction, the El Dorado of the good life, and shared stories and experiences. The workshops culminated in a final public performance held on October 6th in the Campus garden and greenhouse. Since then artist reviewed the performance documentation, identifying various modes of engagement between participants and then began to develop these into four spatial typologies for a functioning democracy in a post-migration context. For this OPENHAUS artist Caroline Vains will show these preliminary sketches (drawings and models).
Two performance participants Reem Awad and Nouri Almashhour are also invited to develop an installation related to the modes of engagement as they experienced them during the workshops. Both are young newcomers from Syria studying art at Berlin’s University der Kunst (UDK). Their openhaus contribution is currently in development.
Photo (c) Brigita Kas
In this residency Kavcar has been going after multiple meanings, connotations and translations of one specific material: The earth. She extracted this earth in a psychogeographic manner from the parks of Berlin, where the only pressure exerted upon the ground is that of the atmosphere. Initially starting off with a free-flowing map of ideas that the soil/earth/land triggers - the silent witness, the transience of the human body, death and mourning on the one hand and like belonging, “heimat”, “blood and soil,” nationalism, artificial borders politicizing nature on the other, Kavcar chose to establish a pure physical contact with the sandy earth of Berlin.
Inspired by the Japanese tradition of “hikaru dorodango” (shiny mud balls), sitting on bare ground at a different park each day, rolling loose sand into spherical forms constituted the first stage of the process. A growing visual archive of representations of spherical objects as signifiers of earthly and celestial power challenged the silence of the spheres of sand. As the earth beneath her feet refused to resonate with any context that would include even a slight shade of “a forced” agenda, the final stage has required a full commitment to study this irritation with anything that is “forced”.
In this OH, the artist will present the critical and absurdly funny points in her process where the repressed oppression calls out from the underground. But she misunderstood the call for a long time. With freight trains that shriek, the grounds that shake, and the proximity of iron hooks that hang from the Plötzennsee prison, ZK/U’s physical locationin Moabit will provide the right setting for calling on the spirits that continue their creative resistance against the face of oppression.
Composition in three movements. A rabbit that lives in the park around ZK/U is being chased by someone, who got escaped from something. Bocce balls bounce off each other in the same park and encourage its players to group or move them away. In another forest, a Syrian woman tells how she escaped her country, bouncing with the contradictions of living in Germany, but she is persistent in being able to reunite with her daughter. The person who is filming pursues something useless, ignores what he escapes from, but recoils with force to return to his desire.
Artist Jessica Gnyp presents a group of sculpted photographs that depict adventure parks and playgrounds in Berlin. The photographs have been given shape through techniques such as folding, watering, bending, and crumpling, which create self-supporting objects that are then mounted on a beam of wood. Carefully displayed on an arc of the basement at ZK/U, these photo-objects interact and subtly comment on the architecture of the building.
Website info: jessicagnyp.ca
For the open studio, Natalia Rebelo will present the first cut of the piece Fontana de
Trevas (Murk’s Fountain). The work is a video and a sci-fi novel. Science fiction does not mean future necessarily, it can also serve as a way to deal with ghosts. The writing aims for new spaces that not need visual representation. The video is still being edited, it was filmed in Mexico City, after a period in residency at Biquini Wax EPS. The work was initially a performance, but later was adapted as a moving image piece.
Taeyeon Kim mainly shows the sculpture corresponding to the given situation or constraints. This time at zk/u, she more focuses on the mutually complementary relationship between the subject and the environment surrounding the subject, and present them to the audience at the same time.
Cesar Cornejo presents an interactive site-specific installation made with paper and
strings, to represent a museum space featuring; videos, photos and maquettes
documenting projects he has carried out with the project Puno MoCA, which
proposes to redefine the museum by placing the community at its centre, in terms
of administration and infrastructure. The project offers neighbours of low-income
neighborhoods in Puno Peru, free construction works and repairs in unfinished
homes, with the condition that in exchange they allow the museum to exhibit
contemporary art by guests artists in the repaired spaces. During the exhibition,
visitors enter the houses to see the displays and interact with the owners. When the
exhibitions are over the spaces resume their normal functions and new houses are
Incorporated. The installation, also includes a section displaying studies currently being carried out studying the development of a satellite of Puno MoCA in Berlin. Complementary to the installation and in a separate space, he is showing sculptures
and paintings in progress, which are based on his ongoing research on the relationship between art, architecture and society. Cesar’s studio practice and his socially engaged projects are intertwined constantly feeding each other.
web: www.cesarcornejo.com // www.punomoca.org
Valentine Emilia Bossert
Graspomaton (work in progress)
interactive installation, mixed media model, research material (3D design: Maud Perrard), 2018
Artist Valentine Emilia Bossert displays the result of a the first series of experimentations towards mapping collective consciousness. This process comes from an urge to understand and make visible how complex ideas are formed, how they relate to each other and can evolve over time. It is also an attempt to comprehend how the conceptual responds to the physical world.
In parallel, artist will present the latest developments on the project called "Graspomaton" - a transportable public installation mimicking the traditional photo booth, through pictures, plans, text and a model.
Ink on paper, 2018
This second series of experimentations towards mapping collective consciousness stems from an urge to understand and make visible how complex ideas are formed, relate to each other and can evolve over time. It attempts to comprehend how the conceptual responds to the physical world. The absurd and confusing maps resulting from this process also question the need to reveal oneself to oneself and others in order to create empathetic connections.
Ali Reza Hemat Bolland & Marcos Torino
The current works of Shandor Hassan are photographic in nature, derived from real spaces and appropriated ones. Light is the subject as is larger context of space and a suggested outer space. The issue of scale and the location in the greater idea of space and the position of the viewer is part of the experiential aspect of the works.