B E T W E E N WA L L S A N D W I N D O W S . A R C H I T E K T U R U N D I D E O L O G I E
19 HOU RS AT TH E KIOSK A project by Studio Miessen
Federica Bueti, Das Gift (Rachel Burns), Chiara Figone, Simon Fujiwara, La Stampa ( Jan Verwoert, Thomas Hug, Jörg Heiser, Günter Reznicek, Jons Vukorep), Margarida Mendes, Johanna Meyer-Grohbrügge, Markus Miessen, Patricia Reed, Ashkan Sepahvand, Something Fantastic (Elena Schuetz, Julian Schubert, Leonard Streich), Hito Steyerl, Felix Vogel, Joanna Warsza, Rimini Protokoll (Daniel Wetzel), Wet Nails. FILMS BY Maren Ade, Eduardo Coutinho, Joana Cunha Ferreira and João Rosas, António Cunha Telles, Eddy Moretti and Suroosh Alvi, João Salaviza, Hajo Schomerus, Franz von Stauffenberg and Christopher Roth. CONTENTS
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H A U S D E R K U LT U R E N D E R W E LT
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INTRODUCTION
This temporal intervention presents a spatial and programmatic scenario through the reinterpretation of one of the original 1950s architectural elements of the Haus der Kulturen der Welt. The project creates an informal space of assembly around and developed through the architecture of the existing rooftop kiosk, referring to the ideological attempt of the former Congress Hall to be both a highly visible and ideologically charged symbol of freedom, facing — in its original conception— the Reichstag and, later, the Bundeskanzleramt. 19 HOURS AT THE KIOSK is based on an ephemeral master plan that refers to two strains of thought initiated by Mikhail Bakhtin and Cedric Price; that of the carnivalesque, and of non-prescriptive architecture drawing a line between the affect of architecture on literature and vice versa. A series of external authors will be involved in different sets of curatorial actions, including reinterpretations of the content on display, readings, a concert, food preparation, rehearsals, screenings, alcoholic resources and temporary spatial and archival installations, while a set of informal (architectural) elements create a direct confrontation with the audience, participants and, in the line of sight, the federal institutions. Cruiseliner deck chairs—used in the tradition of English architect Cedric Price’s seminal lectures at the Architectural Association in London—allow for a nighttime perspective of the state-political landscape east of the HKW and the former death-zone surrounding the Berlin Wall.
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Many of Cedric Price’s projects—such as the Fun Palace or the Brunswick —utilize strategic elements that emphasize the use of informal and incomplete structure, the capacity to change according to the situation, and the structure’s dependence and emphasis on what is happening inside it. This bears significant similarities to carnivalesque strategies that invert hierarchies within a social setting, instead applying to the organization of a structure. Price argued against the production of permanent, specific spaces for particular functions, and instead advocated analysis of the motivations that might give rise to such structures. In his promotional material for the Fun Palace Price explains how one could “choose what you want to do—or watch someone else doing it. Learn how to handle tools, paint, babies, machinery, or just listen to your favorite tune. Dance, talk or be lifted up to where you can see how other people make things work. Sit out over space with a drink and tune in to what’s happening elsewhere in the city. Try starting a riot or beginning a painting —or just lie back and stare at the sky.” The Carnivalesque has been invoked by contemporary writers in regard to the fall of the Berlin wall. It functions in late twentieth century seminal german texts, such as those by Ingo Schulze, were observed by Markus Symmack, however there has also been counter criticism suggesting that this carnivalesque moment was short lived, if at all. The carnivalesque is defined by the experience of a group as opposed to the individual, regardless this very short lived moment of the carnivalesque may be due to the very nature of the ideological shift that took place with the Fall of the Berlin Wall.
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STUDIO MIESSEN
On the one hand, the fall represented a unification, on the other it represented the domination of a system that favored individualism. Taking into consideration the role of time, the carnivalesque only exists when time is divided into official and unofficial. By default —this requires that things “return to normal ”. Nevertheless, the uniqueness of Bakhtin’s thought was that within carnival he found that these shifts were not temporary and located only within the time frame of carnival, but went beyond to affect the structure of a society, as would later be explored in his writings on the dialogic. The existing kiosk is transformed into a vitrine, archive, and reading room, utilizing a series of newly designed and constructed displays and surfaces, in order for the kiosk to assume the role of a walk-in bookshelf. This element explores the theme of Architektur und Ideologie through the display of published and unpublished material. With regard to access to content and visibility of the interior condition, the inside and the outside of the kiosk collide. The kiosk is re-appropriated as a temporary enabler rather than an official architectural symbol to be used in a prescribed way: to the viewer and visitor, the space presents, at times, a harshly hermetic setting that acts, simultaneously, as an informal social gathering space only when activated for 19 hours during the month of September. Exploring the difficulty of framing ideology in time, the project interrogates the importance of the ephemeral as an ideological relic,a fetish based on ritualized actions in space as a procession.
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In this regard, the audience is understood as a non-aligned multitude of active agents who—simply by their presence — provide a prop and backdrop to activate the space and tarnish it with alternative meaning(s).
Studio Miessen is Markus Miessen, Diogo Passarinho, Yulia Startsev, Martin Pohl, Hamed Bukhamseen, Mahan Shirazi, Caspar Noyons. Markus Miessen is an architect and writer. He has published, amongst other titles: The Nightmare of Participation and Actors, Agents and Attendants. His work has been exhibited internationally, including at Manifesta and the Lyon, Venice, Gwangju, and Shenzhen Biennales. His studio is currently planning and designing a contemporary art center on a former NATO military camp in Germany. In 2008, he founded the Winter School Middle East (now Kuwait). He is professor for Critical Spatial Practice at the Städelschule, Frankfurt, and visiting professor at USC, Los Angeles. www.studiomiessen.com
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WEEK 1
Saturday, September 1st Opening with Markus Miessen and Chiara Figone From 16:00 Verses of a Nameless Land, Audio installation around the Kiosk by Patricia Reed After 22:00 Late Night Reading Group with Felix Vogel
Verses of a Nameless Land is composed of 194 national anthems, redacted to omit all traces of national, ethnic, symbolic or geographical specificity and reassembled in thematic movements, maintaining original line structures. Patricia Reed is an artist and writer. Her practice reflects on structures of co-habitation and the immanent contingencies of normalized ordering through artistic and philosophical means.
Late night reading group on Michel Foucault’s Space, Knowledge, and Power Although Michel Foucault did not devote a single monograph on issues of architecture, or more generally speaking on issues of space, they are central categories for his complete works. His book on the emergence of (modern) medical profession,
WEEK 1
The Birth of the Clinic (1963), Discipline and Punish (1975) on the history of the Western penal system and most notably his lecture Of Other Spaces (1967) in which he established the term “heterotopia” come to mind. However we will read a lesser known interview that Foucault gave in 1982 titled Space, Knowledge, and Power. The text is primarily interesting because it is one of the rare occasions in which he directly talks about his understanding of architecture, respectively the relation between space and power and thus elaborating on the ideology of architecture. Felix Vogel is an art historian and independent curator, currently teaching at the University of Hamburg. His research interests include garden architecture and knowledge culture around 1800, the theory and history of exhibitions, conceptions of authorship, as well as documentary and historiographic practices in art and film.
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Among his recent curatorial projects are the 4th Bucharest Biennale Handlung. On Producing Possibilities (Bucharest, 2010), The Realism Question (Stockholm, 2010) and Scenarios about Europe (Leipzig, 2011-2012). His writings have appeared in various magazines, anthologies, catalogues and artist monographs. Vogel taught at HEAD Genève, Universidade de Lisboa and University of Toronto.
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Friday, September 7th
WEEK 2
In My Fathers House are Many Mansions Brother Jay recently moved Screenings: into the world’s most unusual 19.30 flat share. Nestled in the cenIn My Father’s House are Many Mansions (German with English ter of Jerusalem lies the heart of Christianity, the Church Subtitles), directed by Hajo of the Holy Sepulchre. Under Schomerus its roof six Christian denominations live door to door. Saturday, September 8th The young Franciscan’s genFrom 19:00 tleness is severely challenged Free BBQ & drinks by the conflicts in this multicultural collective. As Father 19:30 Samuel, Prior of the ArmeScreening of The Finissage of nian community, defends his ~ Stadium X curated by Joanna brothers’ rank in the pecking Warsza, followed by Kiosk order with ploy and passion. Talk: Informal and Performative Patriarch Theophilos III., Architecture in Warsaw and Tbilisi on the other hand, is content: his Greek-Orthodox monks 20:30 rule over the house as if they Ashkan Sepahvand were in sole reign. Abdilkadr to read a poem Joudeh and Wajeeh Nusseibeh Performance lock the door in the morning and at night. They keep out 21:00 of all this – they are Muslim. > Negotiating Boundaries Nevertheless, they endlessly Johanna Meyer-Grohbrügge argue over the question which job is more prestigious: to hold the key or to actually turn it.
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War, turned in the 90s into an early capitalist market and lately into a New National Stadium for the Euro 2012 Football Championship. The other site will be Tbilisi’s kamikadze-loggias, the extensions of housing blocks massively appearing in Caucasus after the collapse of Soviet Union but also earlier. We will look at the power of those amazing informal sites and their absence in the Kiosk Talk: Informal and further planning processes. ~ Performative Architecture Nothing of its earlier functions in Warsaw and Tbilisi (trade, culture, exchange, The kiosk as an architectural socialist modernist heritage, typology is the best place horticulture) was considered to speak about the fusion in the new National Stadium. of formal and informal archi- Instead of integrating the tecture. The talk will bring famous kiosks, the bazaar, the examples of parasitic even its ‘illegal’ pagoda and architectural sites, emergent the wild greenery examined and the self-built, which by botanists, the Stadium mirror the political, social became a patriotic fortress, and cultural often questioa white-and-red Ufo basket ning the background of landing and believing that ideologies. One of such is a there was nothing there former communist stadium before. Further, we will built with the ruins of search for some hope in Warsaw after the II World kamikaze loggia methods.
Hajo Schomerus born 1970 in Hanover, studied from 1993 film and television camera at the Fachhochschule Dortmund. During his studies he completed an internship in 1995 at the avantgarde filmmaker Jonas Mekas at Anthology Film Archives, New York, as well as two semesters at the Film and Television Institute of India in Pune, India.
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This ‘informal treatment’ of the heritage of Soviet architecture has revealed its anticipatory potential: multiple secondary uses, progressive solutions, the sustainable and self-organizing parallel policies inspiring our cultural and architectural discourse of today and the shape of the amazing Ministry of Highways in Tbilisi. Joanna Warsza Born in 1976, is a curator on the cusp of the performing and visual arts. She graduated from the Warsaw Theater Academy and completed a postgraduate course at the University of Paris 8 dance department.
to read a poem on top of an impossible geometry, all the while considering a party – a movement of bodies enclosed in space and time; presence on the ground; temporarily forgetfulness of the past; radical imagination of a future; inevitable collision with the
reality of surfaces; a frenetic dance towards confusion, passion, ecstasy and conflict; a ritual of initiation, transformation and transubstantiation; unplanned instances when a crystal forms and patterns become recognizable; and ultimately, a choreographic production of energy and waste. a work-in-progress arrangement of ongoing textual and spatial research for the project unfold the plan, set for presentation at the nightclub “basement” in Ramallah, Palestine over the course of November 2012. Ashkan Sepahvand is a translator. In collaboration with Natascha Sadr Haghighian, he founded the institute for incongruous translation in 2011. The institute’s activities include the publication seeing studies, produced by dOCUMENTA (13), with workshops and presentations in Utrecht, Poughkeepsie, Kassel and Kabul. Previous exhibitions include Sharjah Biennial X, Home Works 5, Jerusalem Show V, Kunsthaus Bregenz and MACBA.
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> Negotiating Boundaries
Our socio economic position and general desire to be grown-ups fosters all kinds of assumptions that make living with porous boundaries seem difficult but in Berlin among many other places, we find conditions that differ greatly from what we’d known in previous generations. We are more adaptable. We are part of a generation that has shared many houses already. Many of us are still sharing homes in Berlin, homes that are, more often than not, designed for an antiquated or at least misaligned notion of the family. A group of people decided to build a house and live together. All essentially bourgeois yuppies, we are not interested in being forced into something. We are all busy and many of us can afford to choose our responsibilities carefully. The office of June14 Meyer-Grohbrügge & Chermayeff is transferred to the terrace of Haus der Kulturen der Welt for one night.
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The first meeting of the group will take place there. Questions of what to share, how to negotiate ownership and land value will be discussed. Johanna Meyer-Grohbrügge is an architect from Germany who lives and works in Berlin. Together with Sam Chermayeff she has founded the office June14 Meyer-Grohbrügge & Chermayeff after working for SANAA in Tokyo for 5 years. Johanna is teaching studios at the Dessau institute of Architecture and the Graduate school of Architecture, Planning and Preservation at Columbia University.
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WEEK 3
Friday, September 14th Screenings: 19:30 — ◊ Arena, directed by João Salaviza presented by Diogo Passarinho. 19:50 — + Working With the 99%, directed by Joana Cunha Ferreira and João Rosas 20:00 — Introduction by Margarida Mendes, followed by a screening of ¥ Continuar a Viver (To go on Living), directed by António Cunha Telles
◊ Arena — Mauro lives under house arrest. The tattoos help him to burn time. Three kids in the neighborhood are close to his window. Outside, the sun beats with the full strength of noon. Directed by João Salaviza — Born in Lisbon, 19 February 1984, João Salaviza is a Portuguese film director. Studied at the School of Theatre and Cinema in Lisbon. He recently won the Venice Gold Lion and the Berlinale Golden Bear for Short Film.
Saturday, September 15th From 19:00 Distribution of Das Gift° with free BBQ & drinks 19:30 — The religion of my time, reading by Federica Bueti and Jan Verwoert 20:00 — Simon Fujiwara Why I Never Became an Architect 21:00 — La Stampa ( Jan Verwoert, Thomas Hug, Jörg Heiser, Günter Reznicek, Jons Vukorep), Concert
+ Working
with the 99% is a promo reel for the project of a documentary by Joana Cunha Ferreira and João Rosas, currently being shot in the PRODAC NEIGHBORHOOD in Lisbon. Here, ateliermob is working with the local community and municipality to create legal regulations and detect risky situations in the neighborhood, which was self-built by its dwellers over 40 years ago.
WEEK 3
Ateliermob defends the repositioning of the architectural practice as an urgent answer to the speech that conveys the idea of a postponed and futureless Portugal. Joana Cunha Ferreira and João Rosas Joana Cunha Ferreira lives and works in Lisbon and has studied film in London and Lisbon. She has been working in documentary cinema for the last 12 years. Has directed 4 films and worked in many others as a.d. or production manager. She is currently working on a film with João Rosas, PRODAC NEIGHBOURHOOD, a film so ambitious that aims to portrait Portugal in the last 40 years using 88 houses, 3 streets and 264 intrepid inhabitants. João Rosas studied Communication and Cinema in Lisbon and Bologna. He has a MA in Filmmaking at the London Film School, where he studied with a Gulbenkian Foundation arts grant. He has published three books (short stories) with Fenda Edições. He directed the documentary Birth of a City
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(competition at IndieLisboa 2009) and half a dozen short films, like My mother is a pianist (Honourable Mention at OvarVídeo 2006) and Entrecampos (competition at Curtas Vila do Conde 2012). For the last four years, he has been working as camera assistant and editor in Portuguese, English and German productions (shorts, features, documentaries).
¥ Continuar a Viver (To go on Living)
Between an ethnographic documentary and a filmed manifesto about a fishing community near Lagos, Algarve. After the carnation revolution, during the following two years, this place lived a particular experience: with the support of the SAAL process (Serviço Ambulatório de Apoio Local – roughly translated as Ambulatory Service of Local Support ) the old houses were substituted by stone houses, while the community tries to run a fishing co-op.
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This film registers the process of implementation of SAAL in this small community, documenting the challenge of shared authorship under governmental constraints, and the contradictions which appear as consequence of the exhaustion that a project of such commitment implies. The SAAL process was a post-25th of April social habitation program, conceived by architect Nuno Portas, that, although not predicting it, structured with different ends the participation of the populations to which it was destined. Focusing mainly in urban areas, the SAAL process was the only architectural plan in action in Portugal from 1974 to 1976 and ranged the whole territory, leaving behind hundreds of housing complexes. António da Cunha Telles — born 1935, a portuguese film director and one of the initiators of the Portugese Cinema Novo, both as a director and producer.
Margarida Mendes runs the project space The Barber Shop since 2009, located in the centre of Lisbon where she holds a program of seminars, screenings and performative events. Her research is drawn towards topics such as cybernetics, non linear dynamics, experimental film, and speculative philosophy. She has curated the shows Vanishing Point, KIM? Contemporary Art Centre, Riga (2012); White Hole, Supernova Gallery, Riga (2010); Estates-General, various locations, Lisbon (2009); Substance, Spike Island Centre of Contemporary Art, Bristol (2008); among others. She holds a Masters degree in Aural and Visual Cultures from Goldsmiths College, London.
°Das Gift is an old Berliner Kneipe, which was taken over by a Scottish couple, one an artist, Rachel Burns, and the other a musician, Barry Burns of post-rock band Mogwai.
WEEK 3
The Religion of my time. A reading of Pier Paolo Pasolini poems by Federica Bueti / Jan Verwoert — Pier Paolo Pasolini is a provocative intellectual. Provocative in the sense of irritating for the moralist (‘ben pensanti’) Italian bourgeois who have harshly attacked him and seductive for those who believe in him as a figure of rupture, as the voice of those who have no voice. ‘The religion of my time is about the crisis of the ‘60s’ says Pasolini in an interview – it’s about the ‘vulgarity’ brought about a capitalist society and a diffuse revolutionary apathy. It’s the void, the terrible existential void. When political action becomes uncertain, it’s the triumph of a desire for evasion, or for a moralistic insurgence.’ The poems collected in The religion of my time (1961) expresses Pier Paolo Pasolini’s disappointment with the practices of the Italian Left, the Communist party infidelity to the armed struggle of the young men who had believed in the resistance against
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Fascism and Nazism and the contemporary left inability to understand the desires for changes and transformation of the poor young people. The revolt of the past is forgotten, while in the present it is despised. Pasolini voice echoes a timeless desire for a radical transformation of society. Following Gramsci, Pasolini envisioned social change as steps towards a mutual understanding between different parts of society, historical awareness and education. Federica Bueti is a writer and editorin-chief of the editorial initiative ...ment. She is based in Berlin. Jan Verwoert — A critic and writer on contemporary art and cultural theory, based in Berlin. He is a contributing editor of frieze magazine, and his writing has appeared in various journals, and anthologies and monographs. He teaches at the Piet Zwart Institute Rotterdam, the De Appel curatorial program and the Ha'Midrasha School of Art, Tel Aviv.
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Why I Never Became an Architect — a mural that projects an intimate diary page onto a 6 meter brick wall. The text consists of musings and sketches that explain why Simon Fujiwara never became and architect despite being trained as one. In the voice of a teenager, silly and overwrought with sexual innuendo, the mural transforms the bricks of the wall into the squares of a notebook.
collaborators, presenting versions of themselves and their own biographies as characters within his dramas. In linking fictional and real people, locations and events he explores the boundary between the real and the imagined, often revealing the very fiction of such distinction.
La Stampa are Günther Reznicek (aka Nova Huta, synth), Thomas Hug (p), Jons Vukorep (dr), Jörg Heiser Simon Fujiwara — born in 1982 in (git) and Jan Verwoert (b). London, Simon Fujiwara spent his 2010 saw the release of La childhood between Japan, England, Stampa’s debut album Pictures Spain and Africa. In dense dramas Never Stop – reactions ranged about personal relationships, fafrom outright hostility (“they mily relations, politics, architecvisit the private views to which ture and history, Fujiwara’s work we are not invited”, Andreas explores biographies and ‘real-life’ Müller on Berlin’s Radio Eins) narratives through a combination to “best German Pop band” of performance, video, installation (Peter Richter in Frankfurter and short stories. Often appeaAllgemeine Sonntagszeitung). ring within his works himself Max Dax commented in Spex: and assuming various guises from “... copy-pasted straight from anthropologist to erotic novelist, New Wave Eighties and sent he also works with a cast of through a time-tunnel to the friends, family members and current Postpostmodern.
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Only that thanks to complex, reference-rich, topical lyrics everything is more fresh, intellegent and glamorously apt than with many other international bands”. The band is working on new material, some of which was recently released as a limited vinyl edition maxi-single (Une Fille d’Officier / Bel Innocent) feat. artwork by Monica Bonvicini. Some of the new songs will be performed during the concert on the 15th of September at HKW. La Stampa is a favourite with all age groups and has been especially conceive to feign cosmopolitan appeal. The arousing and intimate atmosphere create by the band is most suitable for dancing dinner parties and coy late night arguments. Jan Verwoert and Jörg Heiser – German-tongue, English-writing art critics for frieze magazine and other publications – are the voices of third-order postpostpoppunk-outfit La Stampa, joined by sinus-wave-guru Reznicek (Nova Huta/Groenland Orchester) on sound generators,
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and the half-argentinian ex-tennispro and 12-tone virtuoso from Geneva, Thomas Hug on eleven finger piano. This motley crew of personalities is held together by its Bosnian heart, the Balkansfilm-impresario Jons Vukorep on adrenaline drums. After two years of transitory rehersal rooms and karaoke parties now it’s time to say: please leap forward sideways, dancing in the dark was yesterday!
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Friday, September 21st Screenings: 19:30 Alle Anderen, directed by Maren Ade Saturday, September 22nd From 19:00 Free BBQ & drinks 19:00 Hito Steyerl, screening of The Empty Center (German with English Subtitles) 20:15 Lecture and screening by Daniel Wetzel
Alle Anderen — While on a Mediterranean vacation, a seemingly happy boyfriend and girlfriend find their connection to one another tested as they bond with another couple. Maren Ade was born 12 December 1976 and is a German film director, screenwriter and producer.
The Empty Center Potsdamer Platz is a square in the centre of Berlin, Germany. Before WWII, it used to be the centre of the city, the centre of its power. Then it became a deadly minefield, enclosed between the borders of the Cold War. In 1989, the Berlin Wall comes down. The area between the walls, the empty margins of the border, is open. Now, the centre returns. Hito Steyerl has produced a variety of work as a filmmaker and author in the field of essayist documentary video and post-colonial critique, both as a producer and a theorist.
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Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta5. She also participated in dOCUMENTA 12, Kassel 2007, Shanghai Biennial 2008, and Gwangju and Taipeh biennials 2010 and was the subject of numerous solo exhibitions throughout Europe. In addition, Steyerl holds a PhD in Philosophy, is a professor for media art at the University of Arts Berlin and has taught film and theory at (amongst others) Goldsmiths College and Bard College, Center for Curatorial Studies.
Prometheus in Athens with 103 inhabitants of Athens “Prometheus bound”: What do Athenians know, what do they think about it today? Prometheus in Athens is pursuing this question with 103 inhabitants of Athens, who were found regarding two relationships: On the one hand these 103 Athenians represent the city according to basic official statistic values.
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On the other hand they identify/sympathize with particularly aspect of the drama “Prometheus bound”. Daniel Wetzel (Rimini Protokoll) Rimini Protokoll show people who have experiences with the disposition to durable sufferings; who see themselves as well in a situation of uncompromising insurgency; people who understand their jobs as a continuation of the “promethian effort” to improve the human future; those who execute uneasily but consequently the power of the state; those who are on the run; those who think to have broken a law for the sake of others; and people who perceive god as a more important legislator than civic society. “Prometheus in Athens”, a contribution by Helgard Haug and Daniel Wetzel to the “Promethiade” at Athens Festival, can only take place in Athens: In the center of the city, a stone’s throw away from the center of the Athenian theater-democracy, for which the “Prometheus” -trilogy was written once.
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» Heavy Metal in Baghdad — In 2003, the Iraqi heavy-metal band Acrassicauda were the Screenings: subject of a Vice magazine 19:30 article. With the magazine’s » Heavy Metal in Baghdad, help, they were able to stage a directed by Eddy Moretti sell-out show in 2005 despite and Suroosh Alvi the recent ousting of Saddam Saturday, September 29th Hussein. Filmmakers from Vice returned to Iraq in 2006 From 19:00 to track down the band. Upon Distribution of Das Gift, their return they discovered the and closing BBQ & drinks multitude of death and destruction, including rehearsing 19:00 studios destroyed by bombs. ª Something Fantastic Heavy Metal in Baghdad is (Elena Schuetz, Julian Schubert, a critically acclaimed 2007 Leonard Streich), presents a rockumentary film following Screening of Edifício Master filmmakers Eddy Moretti and directed by Eduardo Coutinho Suroosh Alvi as they track down Acrassicauda amidst 20:30 onwards the Iraq War. ÷ Wet Nails and special guests Candid interviews with the band members allow an insight into a sub section of society steeped in American pop culture and the hostilities this attracts. Friday, September 28th
Eddy Moretti and Suroosh Alvi Eddy Moretti holds an Hon. B.A. in English and Cinema Studies from the University of Toronto.
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Edifício Master is home for 233 inhabitants of which some are being interviewed in Eduardo Coutinho’s documentary from 2002. What fascinates us about this series of interviews is how present and yet immaterial the Suroosh Alvi is a Canadian journalist building resonates in their stories. It forms the background and film-maker who was among the co-founders of Montreal-based of their lives. It is what they have in common. It is insepaVice magazine alongside Shane Smith and Gavin McInnes in 1994. rably connected to them through their memories of wild parties, As well as being a media critic, intimate love stories and faAlvi has also worked on creating mily tragedies. What more documentaries about places deecan we achieve as architects med dangerous in various parts of the world, including the Mid- than to create something as simple and touching as this? dle East, South Asia, Africa and He is currently completing his Ph.D. at NYU. Since 2000 he has served as director of VICE Films, co-authoring original screenplays with Shane Smith for Dirty Bombs and White Lightnin’.
South America.
ªEdifício Master is an apartment building situated one block from Copacabana beach in Rio de Janeiro. It is not different from any other building in the neighborhood: Built in the 60s, 11 floors, a courtyard, and a doorman. It seems natural, it works, but nothing about its shape tries to be outstanding or extravagant.
Something Fantastic is a young architectural practice committed to smart, touching, simple architecture. Its works include publications (Something Fantastic, Building Brazil, e.a.), teaching (Technology Exchange at ETH Zurich, e.a.) and design for private and institutional clients. Next to Something Fantastic the partners Schubert, Schütz, and Streich also operate a creative agency called Belgrad to be able to work in a
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broader field and context of creative production. The belief that architecture is affected by everything and vice versa does affect everything is the basis of their claim that working as architects involves a general interest and involvement in the world.
÷ Wet Nails started life as a hosting troop for internationally acclaimed party Horse Meat Disco in Berlin. The job entailed designing and creating 3/4 garments to be worn in one evening, constantly changing the image and dancing over every surface. Wet Nails describe themselves as “Atmosphere designers” due to the fact that they are hired on their talent of changing the feeling of a party with their vibrancy, energy and ability to get a room moving and dancing.
Wet Nails soon got offers for more work for other parties (as well as Horse Meat Disco)
and were invited to events such as Dolce & Gabbanna store launch and the Urban Outfitters store launch. They have worked for brands such as BOY LONDON and for Vexkiddy’s album launch in Berlin, This year they will be performing two new music tracks in both Paris and Berlin for the vernissage of iconic designer Aycha Ayara’s brand White Light as well as a performance at Berlin’s Fetish Fair and releasing a 4 part art house documentary about gender and body form titled “A tale of a wet nail”. Wet Nails now strives to create, collaborating with designers on collections, working closely with producers on music and directors to create fresh and new ideas and still showing the world that gender comes in many different shapes, sizes and colours.
O N G O I N G WITH I N TH E KI O S K
Archive Kabinett Temporary Reading Room & Bookshop
Films on loop in the Kiosk
Curating Content: Archive Kabinett presents a selection of publications that inhabit the re-designed kiosk-as-archive by Studio Miessen
The Finissage of Stadium X Curated By Joanna Warsza With lecture and screening on September 8, 2012.
Archive is Paolo Caffoni, Ellie de Verdier, Chiara Figone, Clara Miranda Scherffig, Serena Marconi, Gabrielle Veyssiere
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Arena — Directed by João Salaviza. With short talk and screening on September 14th, 2012.
Fridays at the Kiosk
On Fridays and select nights, an interior mural will be slowly scratched, cut, and machined into an engraving on the wall. After each performance it will be hidden behind a latex curtain. Yulia Startsev Born in 1988, Yulia Startsev is an artist and collaborator of Studio Miessen. She graduated from NSCAD University, Halifax.
Mozartbique — This is a short fragment out of many fragments shown in various places in a Mobile Cinema in 2009. Bits and pieces about an abandoned luxury resort in Mozambique – now home to 3000 squatters – called Grande Hotel, aka Pride of Africa. (The Birth of Nation) Bits and pieces about a film institute, – one of the most memorable initiatives after Mozambique’s independence from the Portuguese in 1975.
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O N G O I N G WITH I N TH E KI O S K
The People’s Republic invited famous filmmakers to help develop a revolutionary cinema called Kuxa Kanema: Among them Jean Rouch, Jean-Luc Godard and Ruy Guerra. Kuxa means birth in Runga and Kanema image in Makua. (The Birth of the Image). And now it will be a film about the visible and the invisible, about masks, opera and wars. Mozartbique started out as different voices and different ways of editing, presented in a Kuxa Kanema way by the artist duo RothStauffenberg. It will become a full-length feature soon in another constellation.
Chiatura, my pride Chiatura was once one of the most prosperous industrial cities in Georgia, boasting rich resources of manganese. Due its location in a steep valley surrounded by high mountains, Chiatura installed a system of cable cars to transport workers to and from the mines, as well as manganese from the mines to the factories. With deindustrialisation the manganese industry shrank and Chiatura’s population halved, but many of the cable cars still run, establishing a net between the city and its people. Chiatura, my pride explores RothStauffenberg — Collaboration how this extraordinary tranbetween Franz von Stauffenberg sport system gives character and Christopher Roth until 2009. to the city forty years after Selected solo shows, among others, its installation. at Au Temple, Paris, Esther Schipper, Berlin, Michelle Nicol Fine Arts, Zürich, Indianapolis Museum of Art, Indianapolis W139, Amsterdam, and BQ Cologne. Group Shows: a.o. Venice Biennial, Sao Paulo Biennial, and Schirn Kunsthalle, Frankfurt.
A film by Stephanie Endter, Max Kuzmenko, Lisa Müller, Ulrike Penk and Kajetan Tadrowski
B O O K L I ST
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Henri Lefebvre, The Production of Space. Michel Foucault, Of Other Spaces in Architecture, Mouvement, ContinuitĂŠ. Michel Foucault, Power/Knowledge: Interviews and Other Writings, 1972-77. Bruno Latour, Peter Weibel, Making Things Public: Atmospheres of Democracy. Edward Said, Representations of the Intellectual (The 1993 Reith Lectures). Henri Lefebvre, Writings on Cities. Stuart Elden, State, Space, World: Selected Essays, Henri Lefebvre. Lukasz Stanek, Henri Lefebvre on Space: Architecture, Urban Research, and the Production of Theory. Sarah Edwards, Jonathan Charley, Writing the Modern City. Felix Driver, David Gilbert, Imperial Cities: Landscape, Display and Identity. Lawrence J. Prelli, Rhetorics of Display (Studies in Rhetoric/Communication). Edward W. Soja, Postmodern Geographies: The Reassertion of Space in Critical Social Theory. Robert Venturi, Denise Scott Brown, Steve Izenour, Learning from Las Vegas. Anthony Vidler, The Architectural Uncanny. Sophie Warren, Jonathan Mosley, Robin Wilson, Beyond Utopia. Amy Bingman, Lise Sanders, Rebecca Zorach, Embodied Utopias. Gender, social change and the modern metropolis. Craib Buckley, Jean-Louis Violeau, Utopie. Texts and Projects, 1967-1978. David Pinder, Visions of the City: Utopianism, Power and Politics in Twentieth Century Urbanism. Douglas Murphy, The Architecture of Failure. Anne-Julchen Bernhardt, Christopher Dell, Political Landscape = Politische Landschaft.
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B O O K L I ST
Victor Buchli, An Archaeology of Socialism (Materializing Culture). Anders Åman, Architecture and Ideology in Eastern Europe during the Stalin Era: An Aspect of Cold-War History. David Crowley, Susan E. Reid, Socialist Spaces: Sites of Everyday Life in the Eastern Bloc. Blake Stimson, Gregory, Sholette, Collectivism after Modernism, the Art of Social Imagination after 1945. Sonia Hirt, Iron Curtains: Gates, Suburbs and Privatization of Space in the Post-socialist City. Marius, Babias, Berlin. Die Spur der Revolte, Kunstentwicklung und Geschichtspolitik im Neuen Berlin. Sylvère Lotringer, The German Issue. Brian Ladd, The Ghosts of Berlin. Confronting German History in the Urban Landscape. Josef Bierbichler, Christoph Schlingensief, Harald Martenstein, Engagement und Skandal. Ein Gespräch. Charlie Hailey, Camps: A Guide to 21st-Century Space. Anselm Franke, Rafi Segal, Eyal Weizman, Territories – Islands, Camps and Other States of Utopia. Eyal Weizman, The Least of All Possible Evils. Robert Bevan, The Destruction of Memory: Architecture at War. Andrea Phillips, Markus Miessen, Caring Culture, Art, Architecture and the Politics of Public Health. Philipp Misselwitz, Tim Rieniets (ed.), City of Collision: Jerusalem and the Principles of Conflict Urbanism. Stanford Kwinter, Requiem for the City at the End of the Millenium. Jill Stoner, Toward a Minor Architecture.
B O O K L I ST
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Tim Edensor, Urban Theory Beyond the West: A World of Cities. Andrew Saint, The Image of the Architect. Jane Jacobs, The Economy of Cities. Civic City Cahier 1: Margit Mayer, Social Movements in the (Post-)Neoliberal City. Civic City Cahier 4: Neil Brenner, Jamie Peck and Nik Theodore, Afterlives of Neoliberalism. Civic City Cahier 5: Erik Swyngedouw, Designing the Post-Political City and the Insurgent Polis. Neil Brenner, Cities for People, Not for Profit: Critical Urban Theory and the Right to the City. Keller Easterling, Enduring Innocence: Global Architecture and Its Political Masquerades. Nina Valerie, Kolowratnik, Markus, Miessen, Waking up from the Nightmare of Participation. Rosten Woo, Meredith Tenhoor, Street Value. Marc Angélil, Rainer Hell, Informalize! Essays on the Political Economy of Urban Form Vol.1. Federica Bueti, Benoit Loiseau, Clara Meister, Social Housing. Housing the Social. Lars Bang, Larsen, Cristina, Ricupero, Nicolaus, Schafhausen, The Populism Reader. Nikolaus Hirsch, Philipp Misselwitz, Markus Miessen, Matthias Görlich, Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space. Nina Möntmann, Art and Its Institutions: Current Conflicts, Critique and Collaborations. Claire Bishop, Artificial Hells.
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B O O K L I ST
Hal Foster, The Art-Architecture Complex. John McHale, The Expandable Reader. Anthony Vidler, Warped Space. Jonathan Hill, The Illegal Architect. Tone Hansen, What does Public Mean? Art as a Participant in the Public Arena. Stephen Willats, Art Society Feedback. Kerstin Stakemeier, Janneke de Vries, Stefanie Böttcher, Roger Behrens et al., Space Revised # 1 – 4. Hans Ulrich Obrist, Cedric Price, Cedric Price – Hans-Ulrich Obrist in Conversation. Peter Cook, Archigram. Peter Cook, The City, Seen as a Garden of Ideas. Anthony Vidler, Architecture. Between Spectacle and Use. Anthony Vidler, The Scenes of the Street and Other Essays. Larry Busbea, Topologies: The Urban Utopia in France, 1960-1970. Simon Sadler, The Situationist City. Tom McDonough, The Situationists and the City: A Reader. Ken, Knabb, Situationist International Anthology. Tim Brennan, New Babylonians: Contemporary Visions of a Situationist City. Merlin Coverley, Psychogeography. McKenzie Wark, The Beach beneath the Street. David Harvey, Rebel Cities: From the Right to the City to the Urban Revolution. Oswald Mathias Ungers, Morphologie. City Metaphors.
B O O K L I ST Luca Frei, The so-called utopia of the Centre Beaubourg. Sönke Gau, Katharina Schlieben, Spektakel, Lustprinzip oder das Karnevaleske? Spectacle, Pleasure Principle or the Carnevalesque? Renate Buschmann, Jochen Goetze, Klaus Staeck, Anarchie Revolte Spektakel. Das Kunstfestival “intermedia ‘69”. Mikhail Bakhtin, Rebalais and His World. Italo Calvino, Invisible Cities. Jorge Luis Borges, The Library of Babel. Umberto Eco, Travels in Hyperreality. Alain Robbe-Grillet, Snapshots. J G Ballard, Hi-Rise. J G Ballard, Vermillion Sands. J G Ballard, Concrete Island. Ray Bradbury, Farenheit 451. George Orwell, 1984. Paul Auster, The New York Trilogy. William Gibson, Idoru. William Gibson, Die Idoru Trilogie. Ingo Schulz, Simple Storys. Douglas Adams, The Hitch Hiker’s Guide to the Galaxy. Jonathan Franzen, The Twenty-Seventh City. Simon Fujiwara, The Museum of Incest. Le Corbusier, Homme de Lettres.
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BBQ Every Saturday
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Mural by Simon Fujiwara
BBQ
Friday, Sept. 9 — In my Fathers House are Many Mansions, directed by Hajo Schomerus
Saturday, Sept. 8 º º º
Finissage of Stadium X, curated by Joanna Warsza
A K TE MP OR A RY BOOKSHOP
F I LMS AT THE KI OSK
F IL M S AT THE KIOSK
Arena by João Salaviza The Finissage of Stadium X Chiatura, my pride by curated by Joanna Warsza Stephanie Endter, Mozartbique by Franz von Stauffenberg Max Kuzmenko, Lisa and Christopher Roth Müller, Ulrike Penk and Kajetan Tadrowski Sept. 1 > Sept. 28 Archive Kabinett temporary bookshop Saturday, Sept. 1 Patricia Reed, sound installation Saturday, Sept. 8 Joanna Warsza, Kiosk Talk Saturday, Sept. 8 Ashkan Sepahvand, Performance STA GE
F LO O R P L A N A N D T I M E L I N E Friday, Sept. 14 — Arena by João Salaviza > Working With the 99% by Joana Cunha Ferreira and João Rosas > Continuar a Viver (To go on Living), by António Cunha Telles
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Friday, Sept. 28 Friday, Sept. 21
Alle Anderen by Maren Ade
Heavy Metal in Baghdad, by Eddy Moretti and Suroosh Alvi
Saturday, Sept. 22
Hito Steyerl, screening of The Empty Center
CHAIRS
Saturday, Sept. 8
La Stampa, Concert Saturday, Sept. 22 Felix Vogel, Late Night Reading Group Saturday, Sept. 14 Federica Bueti, Poetry Reading and reading by Jan Verwoert
CONTRIBUTORS
A project by Studio Miessen Maren Ade (director) Federica Bueti (writer) Eduardo Coutinho (director) Das Gift: Rachel Burns (artist) Stephanie Endter, Max Kuzmenko, Lisa Müller, Ulrike Penk and Kajetan Tadrowski (directors) Joana Cunha Ferreira and João Rosas (directors) Chiara Figone (founder of Archive Kabinett) Simon Fujiwara (artist) La Stampa: Jan Verwoert, Thomas Hug, Jörg Heiser, Günter Reznicek, Jons Vukorep (band) Margarida Mendes (curator) Johanna Meyer-Grohbrügge (architect) Markus Miessen (architect) Eddy Moretti and Suroosh Alvi (directors) Patricia Reed (artist) Rimini Protokoll: Daniel Wetzel (artist) RothStauffenberg: Franz von Stauffenberg and Christopher Roth (artists) João Salaviza (director) Hajo Schomerus (director) Ashkan Sepahvand (translator) Something Fantastic: Elena Schuetz, Julian Schubert, Leonard Streich (architects) Yulia Startsev (artist) Hito Steyerl (artist) António Cunha Telles (director) Felix Vogel (art historian) Joanna Warsza (curator) Daniel Wetzel (artist) Wet Nails (designers)