Das Neue Tacheles
2013-2033
CONTENTS What is Tacheles -The Tacheles idea........................................................................................p 4-5 -Tacheles history...........................................................................................p 6-9
Die neue Tacheles............................................................................p 10-13 -Planning specifications of the art house.............................p 14-15 -The ateliers..........................................................................p 16 -CafĂŠ Zapata..........................................................................p 17 -Studio 54..............................................................................p 18 -Metallwerkstatt....................................................................p 19 -Theatre.................................................................................p 20 -Cinema.................................................................................p 21 -Organisation.........................................................................p 22-24 -Value for the city...................................................................p 25
Appendix.......................................................................................................p 26-33 #1-History of the building #2-How the Tacheles idea was born #3-Recent events #4-Mobile Atelier Project
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WHAT IS TACHELES
TACHELES is, above all, an idea – the idea of creating a democratic space where free art and culture is made possible and supported. A democratic space can be here understood as a place where people are able to gather to discuss, exchange ideas and act. It is a place supported by the principles of freedom of speech and expression. While we don’t feel the need to define what art is, we would like to think of the process of creation as transporting an idea. In Tacheles, art is not classified as good or bad because we believe that there is a great level of subjectivity involved in it. We also believe that free art and culture can be achieved by making creativity possible, 4
Photo: Ralf schlesener
by giving people a space where then can be directly kept in touch with artists and their work. That is why we stand for the idea of easy access to the space we are located, both to the artists and the public. Easy access means no curatorship, no judgments. Anybody who wants to make art is welcome, as well as anybody who wants to admire it. That is why no admission fee is charged. Furthermore, Tacheles has a commitment to contributing to urban art, always intending to transcend boundaries in order to create a dialogue between the artist and the viewer, the city and its inhabitants in an environment that is responsive and accessible to the public.
The idea of Tacheles has been connected for over 23 years to the collective of artists squatting in the building and patios at the address Oranienburger Strasse 5456A. Since its occupation in 1990, the site has become not only a cultural landmark, but also a legendary creative constant within the Berliner landscape. It’s been deemed by many as one of the city’s last subcultural icon, a living museum of art, a place where one can find consistently innovative and alternative cultural programs. More than that, it is seen as a meeting point for artists from different countries and backgrounds – a place where diversity is cherished and respected. That is why the place is featured in almost every Berlin guidebook, attracting over 300,000 visitors per year. Tacheles represents, thus, not only a reference point for culture and sociability, but also an important economic motor for the neighborhood businesses, guaranteeing a substantial amount of touristic activity in the area. Despite its importance in such different instances, this authentic Berliner cultural center is currently threatened by the menace of complete forceful eviction and architectural degradation, as well as by the implementation of a generic artistic project, not connected to the region’s true cultural needs and disregarding of its importance. With that in mind, we, the legendary artist collective that has filled this property with life for the past two decades, wish to present our long-time project for this site, in order to gain proper ownership of the land and make sure it’s kept for future generations. We understand that it requires a high level of motivation and commitment to remain true to the aims of Tacheles and that is why it’s our belief that those of us who have built the spirit of this place are entitled to keep it by right.
TACHELES’S 3 STEPS FOR MAKING FREE ART AND CULTURE POSSIBLE
#1 CREATING A DEMOCRATIC SPACE #2 MAKING CREATIVITY POSSIBLE #3 PROVIDING EASY ACCESS TO THE ARTISTS AND TO THE PUBLIC
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A BIT OF HISTORY* ARCHITECTURAL SAGA The Kunsthaus Tacheles consists in a five-storey building of about 9,000 m², and is part of a larger terrain of over 22.000 m² that takes up half a city block in the neighborhood of Mitte Its architecture is unique within the surrounding area, as it presents both classical and gothic features. It is also one of the few buildings in the city that has survived the devastating bombings of the II World War – one of the reasons why it has been deemed an officially preserved site by the local authorities. Once known as Friedrichstraßen-Passage, the building was originally built as a large shopping arcade, connecting two of the main streets of the Jewish quarter. Until the II World War, the building would house several different activities, including the local general electric company, the Allgemeine Elektrizitäts-Gesellschaft (AEG) and the Berliner Commerz und Privatbank. Once taken over by the Nazi Party, it served as an office to hold French prisoners. Due to the allied bombing raids, it was highly damaged, but the structure remained standing. After the war, the building became a property of the East German government and from then on, various services moved into the ruins. Throughout the Communist Era, the East German authorities tore down large chunks of the structure, always intending to have a full demolition. However, the attempts were always put in a halt due to lack of funds for new constructions.
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In order to understand the importance of Tacheles and how the idea behind it came to life, it is essential to briefly highlight the history of the terrain and building that enabled the concept of a free art space to flourish in the city of Berlin. Today, the house where Tacheles was born (the “Kunsthaus Tacheles”) is closed and neglected – a fact that has been leading to an inevitable process of degradation of what has long become an officially protected architectural landmark.
Photo: Stefan Schilling
TACHELES ARTISTS COLLECTIVE After the fall of the Berlin Wall, a complete detonation was planned for February 13, 1990 but, two months before that the building was occupied by the artists’ collective Künstlerinitative Tacheles – a name that comes from the Yiddish word “tachlis”, which means “to talk straight”. Their bold action paid off at a moment when Berlin was in heady confusion after the city’s sudden reunification. The group prevented the eminent demolition and proved that the structural integrity was maintained, which lead to it being named a historic landmark shortly thereafter. The emerging art complex became a hub of the free-for-all culture that was blossoming in the reunified city. Soon Tacheles became a central part of the art, activist, exhibition and communication scenes in Berlin. At that point, the artists viewed Tacheles as a utopia. The abundance of free space in the building made it possible for them to create anything they wished.
Meanwhile, the building itself was painted in bright colors and a large courtyard behind the building held several sculptures erected using debris, vehicles and other objects. It became an art centre with a cafe, cinema, nightclub, performance space, workshops and exhibition space. The international renown of the project spread so quickly that demolishing Tacheles became impossible. Instead, the city government decided on a policy of leniency. A renting agreement was worked out for a symbolic sum and the artists were allowed to stay and further co-opt the structure. This was a fruitful period, as the place became a reference point for local residents in search of alternative culture, as well as tourists. The activities held at Tacheles had a huge impact on the surrounding area, directly affecting the local businesses and therefore, the local economy by attracting a large contingent of people to the Oranienburger Strasse axis. *see Tacheles History and how the Tacheles idea was born in appendix #1 and #2
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RECENT EVENTS*
After 2008, the future of Tacheles became uncertain as continuous eviction threats were made to the artists. In 2011 the gastronomy businesses and cinema left the building in return for a payment of 1 Million Euros from an anonymous source. Eighty artists vowed to stay on with their ateliers and metal workshops. As a consequence, one week later, a 3 meter-tall wall was built by the owner, the HSH Nordbank, separating the Oranienburger StraĂ&#x;e from the building’s courtyard.
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*see appendix #3 to read about all the recent events
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On September 4, 2012, after 22 years of resistance, the 40-60 occupants who were still in the building left due to pressure from the bank. Refusing to let the space go, the artists from the Metallwerkstatt made a decision to form a new non-profit association called Art Pro Tacheles, and remain in the garden area of the lot as a cultural squat, fighting against eviction. This action has allowed the Tacheles idea to further survive, making sure that the artistic occupation of the site would reach its 23rd anniversary in February 2013. Because of the Metallwerkstatt’s resistance we are proudly able to state that ever since it was first created in 1990, Tacheles has never once been closed to the public. Outside of the building, the open air exhibition of metal sculptures is permanently held. The sculptors and painters currently work in improvised tents that serve as studios and are open to daily visitation. It is calculated that approximately 1000 people still visit the sculpture park every week. However, working conditions are becoming increasingly difficult as the HSH Nordbank has forbidden the entry into the lot of the necessary material to make the paintings and sculptures. Power and water has also been cut. In addition, access to the building itself is still forbidden both to the artists and the general public. The garden area where the sculpture park is located is now only reachable through a narrow street called Helga-Hahnemann Strasse.
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-The house of Tacheles was closed in september 2012, but you can still enjoy the garden of Tacheles! Open Ateliers, alternative gallery for sculptures, paintings, photos and more... -Visit also our new project: MAP#1, (Mobile Atelier Project) on Warschauer platz,6 in the PLUS hostel : art garden, gallery, painting /screen printing atelier and more...
All the infos about Tacheles, the association Artprotacheles and the Mobile Atelier Project# on :
.blogspot.com
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Das Neue Tacheles
, with its actions, aims at contributing to the urban landscape, to both the neighboorhood scale and the larger scale of the city. It implicates in participation within the cultural, social and economical levels of local life, leading to inter-cultural and inter-generational exchanges amongst the population. Furthermore, due to its background as an international center for free culture along with the current new impulse given by Art Pro Tacheles e.V., das Neue Tacheles aims at actively reinforcing international cooperations. The goal is the construction of true poles of activities dedicated to contemporary cultural practices. With this, das Neue Tacheles is able to develop a simultaneously social, cultural and pedagogical project, leading to the invention of new means for the exchange of competences and for better circulation between the artistic productions, those who make them, the exhibition spaces and the public. Tacheles aims at being a resource space for information, for the support of cultural projects, artistic inventions and experimentation.
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DAS NEUE CONTINUING
THE ORIGINAL IDEA OF
TACHELES/23 YEARS OF SUCCESS. The art house
Tacheles is an intangible cultural treasure for the city of Berlin and for the world offering a haven of expression and hospitality to contemporary artistic expression and to cultural exchange. Das Neue Tacheles aims at reviving the potential of the art house and to modernize it.
A SYMBOL. Berlin has been the capital of alternative culture since the fall of the wall. The art house Tacheles has been a symbol for free art and free speech since its creation in 1990. Das Neue Tacheles aims at preserving this symbol for the next generations. PRESERVATION OF
FREE ART AND CULTURE. Das neue Tacheles aims at Legitimating free speech and free culture within the urban landscape.
FREE SPACE IN BERLIN MITTE
Art Pro Tacheles e.V revendicates, with all its projects, the use of public space as cultural spaces.
DEMOCTRATIC SPACE. The project will be run as an Exemplar-democratic art space, free of private interest, organized by the association artprotacheles.
CULTURAL CENTER FOR
ALL TYPES OF ARTS Das neue Tacheles aims at promoting diversity and is hosting performing art, visual arts, digital arts, and writing ateliers.
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EXAMPLE
OF LONG TERM RE-URBANIZATION. The art
house Tacheles was one of the first commercial/industrial buildings to be reused as a cultural space. It was the precursor for many art iniatives of this kind. Its impact on the neighboorhood was always significant but, that is now threatend by closure. Reviving Tacheles would set an example of successful long term re-urbanization.
TACHELES
2013-2033
EXPERIMENTATION SPACE FOR EMERGING ARTISTS. Tacheles offers a dy-
namic free space for art and culture in Berlin, the current capital of art thousands of artists have already participated in this project in the past 23 years. It is an important creative step and a perfect starting point for emerging artists in search of advices from experienced artists, facilities such as machines and material free of charge. Most importantly, it is a space for creation free of judgment.
OPEN TO THE PUBLIC /ART MEETS SPECTATOR. The
workshop and gallery space are opened to the public at all working times and offer the visitors a unique opportunity to watch the live creation of metal and wood sculptures, paintings, drawings, photographies and videos - all free of charge!
INTERNATIONAL NETWORK. Das neue Tacheles is in collaboration with similar projects in other countries, Le Turne in Italy and Assos International Art Lab in Turkey.
LONG TERM PROJECT. Das Neue Tacheles is a 20 year-long project, that aims at continuity for an unlimited time frame.
IN EXPANSION. With the Mobile Atelier Project*, Art Pro Tacheles e.V. is building ateliers for artists all over the city and in other countries on the “democratic basis� of Tacheles, thus enlarging the potentials of the art house in terms of rooms,possibilies for artists and networking. AN IDEE
*see the explanation of the Mobile Atelier Project in Appendix #4 13
DAS NEUE TACHELES The present proposal intends to maintain the already existing spaces endowed with special infrastructure for specific uses, for instance: the theater, cinema and gastronomy. Keeping these activities inside the building would, not only eliminate the costs of an entire renovation project, but would also allow for the possibility of re-launching the once-functioning businesses leading, therefore, to profit for the organisation, as well as different points of attraction for visitors in search of alternative cultural options. It is also important to point out that the existing architectural structure is still considered suitable to hold these activities, as stated in the report by the Statikbüro Jockwer & Partner engineering firm, commissioned by German court in 2008. This report guarantees that the Kunsthaus Tacheles’s architecture is complying with the legal requirements to keep the spaces open to the public. The building also presents the necessary features to allow emergency exits, as well as access for the handicapped and disabled.
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GASTRONOMY
GALLERIES
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EVENT HALLS
base of space occupations
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T
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20%
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40%
S
The present proposal sets up a base for the space organisation and a functioning structure, but the project aims at developing further more and remains open to new participants suggestions and aspirations.
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THE ATELIERS The ateliers are spread throughout the art house, which will also host cultural collectives, permanent and temporary resident artists; all of which can develop their own activities. The artists are also able to utilize the common spaces where specific facilities are available along with the necessary logistics and pedagogic technics, enabling the emergency of new projects and reinforcing interdisciplinary exchanges.
WORKSHOPS 10%
INDIVIDUAL 30%
SHARED 40%
Cultural mediation is one important goal of the project. The ateliers are daily open for the public but visits of the ateliers and discovery of specific technics are planned monthly, led by a trained mediator, reenforcing the links beetween artists and visitors. how to get an atelier ? Each floors of ateliers will be run by different collectives. To get a single atelier or to work in a shared atelier, artits must get integrated with the group. All space attributions are approved by vote at the weekly meeting of the collective.
TEMPORARY 20% 16
Workshops to learn artistic technics and theory are organised for all publics, aiming at making easier the access to artistic process to children and young people. The workshops for adults are accessible at very low prices and the workshops for children are organised in collaboration with schools.
Z
Photo: Stefan Schilling
CAFÉ ZAPATA
The café zapata is a worlwide know music café and bar. It was open in 1990 and was at first the community meeting point and kitchen. The café was financing the hole tacheles art house. It was privatise in 1994. The metal furnitures and the original 90’s look of the place made it a very special event place. Thousands of artists had particpated on the famous stage of the café zapata. It was closed in april 2011. Das neue Tacheles brings back the first attempt of making the
café zapata a community café, it revives as the heart of the art house, offering again a programm of concerts and shows in its well known original and caracteristic atsmophere. the café/bar will be run by a collective.
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STUDIO 54 Studio 54 is the restaurant and the day café of the art house. The restaurant offers world kitchen and the space is also used for exhibtions. The atmosphere is cosy and the food afordable. One evening per week are organised “Volksküche”. In the evening, Studio 54 is changing into a cocktail bar/club with video installation, dj’s, and live music.
Photo: Stefan Schilling
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METALLWERKSTATT
Photo: Stefan Schilling
The Metallwerkstatt of Tacheles (atelier and center for metal creations) has been a world-famous art project for 22 years. It is a shared atelier where knowledge and materials are commonly used. Hundreds of artists have taken part in this project over the years, exchanging knowledge and contributing to making the Metallwerkstatt a very special working and exhibition space.
Tourists, galleries, collectors and art lovers can enjoy a different exhibition at each visit as the production is always various and abbundant. The art produced there is well known and apreciated by various kind of people. The Metallwerkstatt can host up to 15 artists working simustanoulsy.
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THEATRE
ď‚Ž The Theatre Saal is a famous stage since its creation in 1990 . The space is vast and impressive with its double heights ceiling. It can host up to 300 people at each event. It was a lauching point for many famous groups like, RAMM theatre, Group Motion Company, Sasha Waltz, Ikaron Theater, Einstuerzende Neubauten etc..... The theatre is run by a collective. It is an affordable event hall for the public, the prices are low and the events are of many kinds. The space is multifunctionnal, hosting concerts, theatre pieces, shows, projections, conferences, workshops and more. The theatre is promoting at first emerging artists but is a very open stage.
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CINEMA

The cinema is presenting art house movies, off cinema, screenings for schools and hosting seminar. It s is a perfect space for alternative premieres. The cinema is composed of two spaces, on one side the two projection rooms (50 and 40 seats), on the other side a confortable bar and club where discussion about the presented movies are organised.
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A PROJECT FROM ART PRO TACHELES E.V The idea of Tacheles is currently being kept alive by Art Pro Tacheles, an open community and a legal non-profit association initiated in 2011 by the international artist collective running the Metalwerkstatt. The association is minimally institutionalized in order to provide the basic structure enabling the organization of exhibition spaces and open ateliers for artists and visitors. In spite of that, its aim is to simplify access to art for all by welcoming all the interested parties. The association holds regular meetings every week and an extraordinary administrative meeting every year. Anyone interested in joining Art Pro Tacheles is invited to request to become a member at one at the weekly meetings. A symbolic fee of ten euro per year is charged in order to cover basic costs of XXX . In addition, we are always looking for specialized participation (from architects, graphic designers, web designers...), interns (motivated people who would like to learn and contribute to the project) and donations (including that of working material for the artists).
Anyone who is interested in contributing is able to directly contact the association through our e-mail address (artprotacheles@gmail.com) and/or Facebook profile (https://www.facebook.com/art.protacheles).
There is no application form or curatorship for those willing to join the Tacheles work place as artists. In order to be attributed a space in an atelier, the interested parties must get integrated with the group by showing up and working on common projects. All space attributions are approved by vote at the weekly meeting.
From only seven members, the group has grown to currently hold over 50 members* from countries such as Germany, Turkey, Italy, France, Sweden, Palestine, Brazil, USA, South Korea, Greece, amongst others. Regardless of their field, age, race or religious beliefs the artists and art enthusiasts get together, work and exchange in the Metallwerstatt.
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At the moment, Art Pro Tacheles is operating from two different places in the city of Berlin: at the sculpture park in the back of the Kunsthaus Tacheles and at the PLUS Hostel at Warschauer Platz 6, in the neighborhood of Friedrichshain. This second location is a part of the Mobile Atelier Project (M.A.P.), as will be presented further ahead. Art Pro Tacheles’s main goal at the moment is to extend the original idea of Tacheles by creating more spaces for alternative art and culture. We see the Kunsthaus at Oranienburger StraĂ&#x;e as a mother cell, where artists can begin to explore their craft and later spread the Tacheles idea to other cultural centers, neighborhoods, cities, countries. That is why guaranteeing the building is so important in order to keep the proposed principles alive.
ORGANISATION/ A
DEMOCRATIC SPACE
DAS NEUE TACHELES will be run as an Exemplar-democratic art space, free of private interest, organized by the association artprotacheles. BASE OF A POSSIBLE ORGANISATION :
ART PRO TACHELES FOUNDATION -owner of the property -non profit -financing: donations
ART
PRO
TACHELES
E.V.
-operator of the art house tacheles -open membership -non profit -financing: donations, membership fees
Z FLOOR COLLECTIVES OR SEPARATE ACTIVITIES -operator of each floor or activity -open membership -financing: donations, sales.
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OPERATING PLAN > PREPARATION AND REHABILITATION PHASE - Collective work and project study - Integration of the civil society and citizens in the project (interviews with the surrounding businesses and local residents) - Discussions with participants of the project and with participants of similar projects; - Basic renovation of the building > PROGRESSIVE USE OF THE SPACES - Re-opening of the common spaces (office, meeting spaces, bar, cafĂŠ, restaurant...) - Opening of shared and individual ateliers and creation of a pool of associations and artists for each floor and/or type of activity - opening of the creation/diffusion spaces (dance, theater, exhibition spaces and cinema) - Establishment of the residency program > CONTINUITY OF THE REHABILITATION WORKS - Continued preservation and enhancement of the building
The project remains opened to suggestions and all kinds of support are welcome!
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ADDED VALUE FOR THE CITY DAS NEUE TACHELES PROJECT ENABLES: - The continuity and strenghthening of an already existing exchange, tolerance and integration center - The creation of genuine art ateliers in the city
- The creation of a NEW PUBLIC SPACE in the form of an open garden and open creation place - The CREATION OF NEW JOBS (not only allowing new artists the access to the cultural scene, but also providing administrative and basic building-maintanance related jobs) - A POSITIVE IMPACT ON THE NEIGHBORHOOD by revitalizing the surrounding area and supporting local businesses, which profit from the tourist flow - The inclusion of the citizens of Berlin in the construction of this project and new space
We will never repeat enough the value of the art House Tacheles, in terms of culture, freedom, and social utility. It is a symbole of the city of Berlin and and was an example for so many art houses and cultural project in the world. LET’S BRING IT BACK TO THE PEOPLE!
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Appendix #1
HISTORY OF TACHELES OVERVIEW OF THE BUILDING The Kunsthaus Tacheles consists in a five-storey building of about 9,000 m², and is part of a larger terrain of over 22.000 m² that takes up half a city block in the neighborhood of Mitte (image 01). The lot has boundaries located directly on three of the major streets in the area (Oranienburger Strasse, Friedrichstrasse and Johannisstrasse) and is situated between the U-Bahn Station Oranienburger Tor (U6) and the S-Bahn station Oranieburger Strasse (S1/S2). It is also served by several Tram and Bus lines, making it an excellent central location for the existence of a large and open cultural space, easily accessible by the general public. Its architecture , conceived by Franz Ahrens, is unique within the surrounding area, as it presents old and new elements. It is classified by some as being part of the early Modern style, though it incorporates both classical and gothic features. It is also one of the few buildings in the city that has survived the devastating bombings of the II World War – one of the reasons why it has been deemed an officially preserved site by the Landesdenkmalamt – the local authority for technical matters in architecture, art, gardens, historic preservation and urban archeology. The protection of the building in the grounds of Denkmalschutz – conservation and heritage – is of Baudenkmal (monument) and is extended to the whole complex once known as the “Friedrichstraßen-Passage” . The Friedrichstraßen-Passage’s history stands for a saga in itself. It 26
was originally built as a large shopping arcade, connecting two of the main streets of the Jewish quarter (Scheunenviertel). The construction of the building lasted from 1907 to 1909 and was characterized by the use of reinforced concrete within the structural frame, as well as by a colossal ribbed dome and sculptural decorations in limestone by artists Hans Schmidt and Richard Kuehn. At that time, the Friedrichstraßen-Passage was the second largest of its kind in the city, totaling a cost of approximately 7 million German marks. The shopping arcade had entrances from both sides, where several small businesses overlapped. This first use was short-lived as the Passage filed for bankruptcy only six months after opening – a fact that led to its transformation into a large department store until 1914.
After 1918, the building was taken over by the local general electric company, the Allgemeine Elektrizitäts-Gesellschaft (AEG). It was the first time it would be used as an exhibition space, as the company would convert it to a show room to display its products. By then, additions had been made to the edifice’s architecture, most notably the construction of a deep cellar, still existing today and known as the Tresorraum . The height of the ceiling in the passage was also lowered, which changed the appearance of the building completely. After 1928 the building was renamed Haus der Technik by the Berliner Commerz und Privatbank. It is also said that one of the first German television transmissions took place in this construction during the 1930’s. During the II World War, the building, as much of the city, was taken over by the Nazi Party, serving as an office to hold French prisoners. Due to the allied bombing raids, it was highly damaged, but the structure remained standing. In 1948 the building was taken over by the Free German Trade Union Federation (FDGB) and deteriorated over the course of the next several years. From then on, various retailers and craft businesses tem-
Photo: Stefan Schilling
porarily moved into the ruins, especially on the Friedrichstraße side. Among the several uses were that of a movie theater, a travel agency, an artists' school, a technical school for foreign trade and economics, and office spaces for a company dealing with radio and transmission technology. The cellar was also used by the National People's Army. The movie theater located in the Friedrichstraße gateway area was forced to leave in 1958 due to the worsening condition of the building. The presentation hall was dismantled, but was later reopened under the name Oranienburger Tor Lichtspiele (OTL). During the reconstruction work the facade was partially changed and a lobby area was built to house cash registers and checkout aisles. The roof was also rebuilt, leading to the creation of the current entryway. After further reconstruction in 1972, the movie theater was reopened and renamed “Camera”. It still exists and was used until the house eviction of 2011 . Throughout the Communist Era, the East German authorities tore down large chunks of the building, always intending to have a full demolition. However, the attempts were always put in a halt due to lack of funds for new constructions. 27
Appendix #2
HOW THE TACHELES IDEA WAS BORN After the fall of the Berlin Wall, a complete detonation was planned for February 13, 1990 but, two months before that the building was occupied by the artists’ collective Künstlerinitative Tacheles – a name that comes from the Yiddish word “tachlis” ,which means “to talk straight”. Their bold action paid off at a moment when Berlin was in heady confusion after the city's sudden reunification. The group tried to prevent the demolition through discussions with the building management in Berlin-Mitte, which was legally responsible for the complex, by registering the building as an historic place. The planned demolition was not delayed however, until the group managed to get the Berlin Round Table to issue a last-minute injunction. The artists' initiative had a new engineering survey done to evaluate the building's structural integrity. The study found that the building was in surprisingly good shape, and it was named a historic landmark shortly thereafter. Its status was officially recognized after a second survey done in February 1992. Although there was an appreciable amount of disagreement among the East and West German artists due to their conflicting views and
Photo: Stefan Schilling
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concepts for the space, the emerging art complex became a hub of the free-for-all culture that was blossoming in the reunified city. Soon, Tacheles, as it became known, was a central part of the art, activist, exhibition and communication scenes in Berlin. In the beginning the centre was expanded considerably in order to provide both housing and work space for its artist residents. In 1991, the associated housing burnt down, paving the way for a new art centre. Among the early exhibitors were artist Mark Divo, sculptors the Mutoid Waste Company, musicians Spiral Tribe, theatre group DNTT, performance artist Lennie Lee, dancer/choreographer Sasha Waltz, Ramm Theater, and many others. At that point, the artists viewed Tacheles as a utopia. The abundance of free space in the building made it possible for them to create anything they wished and actually make a difference within the cultural scene of the city. It was within this context that the first metal sculptors began to work. As a result of the many previous activities held in the house, there was a great amount of metal left behind as rubble. Some of the squatters believed something needed to be done with the material and saw the potential for creating art from the “waste�. Instead of viewing the rubble as useless, they regarded it as a playground for art. This view symbolizes quite well the spirit of Tacheles, as it reflects the belief in allowing creativity to flow from unexpected places. From that point on, a seed was planted to pave the way for the famous Metallwerkstatt which is currently the only group still occupy-
ing the Oranienburger Strasse lot. Meanwhile, the building itself was painted in bright colors and a large courtyard behind the building held several sculptures erected using debris, vehicles and other objects. It became an art centre with a cafe, cinema, nightclub, performance space, workshops and exhibition space. The international renown of the project spread so quickly that demolishing Tacheles became impossible. Instead, the city government decided on a policy of leniency. In 1998, the building was bought by the Johannishof GmBH, a subsidiary of the Fundus group , which worked out a ten year rental agreement with residents for the symbolic sum of one Deutschmark, and then 50 euro cents per month. The artists were allowed to stay and further co-opt the structure. This was a fruitful period for Tacheles, as the place became a reference point for local residents in search of alternative culture, as well as tourists. The activities held at Tacheles had a huge impact on the surrounding area, directly affecting the local businesses and therefore, the local economy by attracting a large contingent of people to the Oranienburger Strasse axis. After years of successful occupation, the lease with the Johannishof GmBH ran out in 2008 when the Fundus group declared bankruptcy, leading the ownership of the building to be transferred to a Hamburg-based bank, the HSH Nordbank, which currently owns the property.
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Appendix #3
TACHELES TODAY – CURRENT SITUATION
After 2008, the future of Tacheles became uncertain as continuous eviction threats were made to the artists. Most notably, on 4 April 2011 the current owner, the HSH Nordbank, scheduled an eviction, which was not carried out. Instead, on the next day, the gastronomy businesses and cinema left the building in return for a payment of 1 Million Euros from an anonymous source. Eighty artists vowed to stay on with their ateliers and metal workshops. As a consequence, one week later, a 3 meter-tall wall was built by the owner, separating the Oranienburger Straße from the building's courtyard. On September 4, 2012, after 22 years of resistance, the 40-60 occupants who were still in the building left due to pressure from the bank. Refusing to let the space go, the artists from the Metallwerkstatt made a decision to form a new non-profit association called Art Pro Tacheles, and remain in the garden area of the lot as a cultural squat, fighting against eviction. This action has allowed the Tacheles idea to further
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survive, making sure that the artistic occupation of the site would reach its 23rd anniversary in February 2013. Because of the Metallwerkstatt’s resistance we are proudly able to state that ever since it was first created in 1990, Tacheles has never once been closed to the public. Outside of the building, an open air exhibition of metal sculptures is permanently held. The sculptors and painters currently work in improvised tents that serve as studios and are open to daily visitation. It is calculated that approximately XX people still visit the sculpture park every week. However, working conditions are becoming increasingly difficult as the HSH Nordbank has forbidden the entry into the lot of the necessary material to make the paintings and sculptures. Power and water has also been cut. In addition, access to the building itself is still forbidden both to the artists and the general public. The garden area where the sculpture park is located is now only reachable through a narrow street called Helga-Hahnemann Strasse.
Since 2012, private security agents were hired by the bank to maintain 24 hour-surveillance of the site and a high-technology camera was installed on the outside structure of the building overlooking the garden as a way to keep control of the activities taking place in the Metallwerkstatt. On May 21, 2013 one of the artists who had been working at Tacheles since 2009 was again forcefully evicted from the garden area. The wooden cabin where he used to work was demolished and his portable garden – known as Kappaland (http://sensanostra.com/kappaland-portable-garden/) was destroyed, leading to substantial damage to the art work. The events happening in Tacheles are a reflection of the broader transformation currently going on in the city of Berlin, and world-wide. It is possible to observe nowadays an increasing level of commercialization and modernization of the cultural spaces of Berlin, which has been leading to the inevitable urban phenomenon known as “gentrification”. In other words, the proliferation of expensive businesses in addition to punctual urban interventions has contributed to an overvaluation of the Mitte area, now in constant transformation. This valorization is reflected on the real estate market and leads to speculation, raising the rents and living costs of the region. Because of this, the original population can no longer afford to remain there, being obliged to leave the region, ironically taking along with them the values and traditions that had made the area attractive in the first place. The Tacheles building sits right in the middle of gentrified Mitte and maintaining it in the hands of the artists, instead of spending a great amount of investments to reshape it and deepen the gentrification process, may just be what the city needs to start changing the above mentioned reality. It is our belief that allowing the Kunsthaus to remain in the hands of the artists is the best option for Berliners. It is a known fact that the city of Berlin is over 60 billion euro in debt, making it unrealistic for more money to be spent with the renew of a place that already has the strength to sustain itself as a cultural center. In addition, it is important to highlight that the costs spent so far by the current owner in order to keep the building empty have been high.
According to XXX , a mortgage of approximately 85 million euro was taken by the HSH Nordbank – an amount that has only increased in the past years due to added costs of legal fees, around the clock surveillance, construction of the wall and so on. Since this is a public bank, it becomes necessary to ask where these funds are coming from. There is a great chance, this is directly affecting the Berlin’s tax payers. Not only that, but it is believed that keeping the building unoccupied and with no maintenance is causing further damage to the structure, which is problematic considering that this is an architecturally preserved construction. In a 2010 interview to Deutsche Welle , Torsten Woehlert, press spokesperson for the Berlin Senate of Cultural Affairs, affirmed that evicting Tacheles while the investors wait two or three years for development approval wasn’t the best move. As Woehlert put it: "It doesn't make sense for the artists. It doesn't make sense for the city. It doesn't make sense for the bank. It doesn't make sense for the investor because this will harm the image of Tacheles, of the city, of the bank and of the new investor". It is safe to say that, by now, the images of all of the parties involved have indeed been harmed. With a similar opinion, urban planning expert Dr. Daniel Dahm told the BBC News in September 2012 that "the Arthouse Tacheles is an example of self-motivated work by citizens who decided to proactively stand up for their ideals”. It is a fact that the Kunsthaus Tacheles has represented for 23 years an alternative space to the more homogeneous cultural centers that are often spreading around the city. After the falling of the wall in 1989, Berlin became a place of reference for those who sought to make art on their own terms. With the current spreading of franchise museums, galleries and larger-than-life cultural centers, Tacheles as a culture house, has the opportunity to remain as a unique example of an authentic and original Berliner cultural space, able to give back to the city by opening up this space to the locals. That is why, in face of this turn of events, the association currently running Tacheles is determined to buy the building back and carry on with our own original project for the space. 31
Appendix #4
THE MOBILE ATELIER PROJECT In the attempt to multiply the experience of the famous art house, the Artprotacheles association has imagined the Mobile Atelier Project aiming at constructing temporary ateliers for artists, creating space for free art and culture in the city. It is a project created by artists for artists and for the public to experience. The Mobile Atelier Project focuses on gentrification and uses it to create an alternative way of thinking free space : making the concept of nomadisation a leitmotiv for creation. This citywide installation brings art into different contexts and inhabits different spaces. The ateliers are to be installed in all neighborhoods. The project focuses on the idea of multiplication and expansion. It aims at creating a visible network of free temporary ateliers and galleries in the city generating a new urban reality. Based on the idea of multifunctionality the ensemble of free ateliers and galleries is hosting artists, individuals or groups/associations.from all art fields. The goal of MA.P is to make art and its production directly accessible to the public. The ateliers are offering open workshops where artist and public can connect. Once the space used for a mobile atelier project is needed, the atelier is to be simply moved into another empty area.
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MAP#1opened on the 14th of April 2012, in PLUS hotel, located on Warschauer platz,6. On over 1000 square meters artists created an installation including a show room, an art garden and workshops for painters and sculptors.
Since april 2012, the artists from the association are working and displaying their works in the atelier and the garden. In collaboration with the PLUS Berlin hotel, Artprotacheles organized a residency program inviting artists from all over the world to work and show their art works. Hotel guests, people of the neighborhood, artists and art lovers can now enjoy a unique working atmosphere in Friedrichshain.
MAP#2 is an evolutive art village located in the Alte BĂśrse, in Marzahn.
MAP#3is a joint project with the turkish
association Assos International. The project started in 2012 in Kuruoba, a small seaside village in the historic town of Assos in Turkey, where a former primary school and its 5500 square meter land is being converted into an international art laboratory.
The village is composed of a nucleus of ateliers to be constructed one by one, developed as a work in progress project, inviting artists from all over the world to partcipate. The village takes the form of a multicultural center with a central common atelier. The Ateliers provide working and exhibition space for all kind of art, as well as residencies, workshops, conferences, lectures, concerts, screenings, theatre, performances... All the buildings are thought as “mobile ateliers�. The whole project is imagined as a temporary project and is meant to last from two up to five years. Furthermore, all the ateliers constructed will be later on spread elsewhere as defined by the concept of the mobile ateliers project.
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