LOTTO MAGAZIN UND DAS SPIEL UMS GANZE.

LOTTO LOTTO MAGAZIN MAGAZIN UND UND DAS DAS SPIEL UMS GANZE.

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dentity creating places. Where are they s gibt eine Idee. Sie lautet: die menschli- and how can they be found? The quest che Identität setzt sich aus sechs Zonen starts here: According to a socio-scienzusammen. Und der Mensch ist bestrebt,tific theory human identity consists of six diese sechs Bereiche stets in Ordnung, also stabildifferent zones forming a unit. Every inzu halten. Gelingt es ihm nicht, droht der Identi-dividual strives to keeping these six areas tätsverlust. Zu den sechs Zonen gehören: ein so-in balance, thus stable. If he doesn't suclides Verhältnis zu anderen Menschen, eine emo-ceed, loss of identity is impending. The tionale Verbindung zu bestimmten Orten, einesix zones are: a humanistic value system, Beziehung zu persönlichen Dingen und Gegen-a strong relationships to other people, a ständen, eine Integration in bestimmten Organi-connection to personal belongings and obsationen und Gemeinschaften, eine wohldosiertejects, integration into certain organisations Nähe zu Macht und Beherrschung und nicht zu-and communities, a well-balanced relation letzt einen dynamischen Begriff von Idealismus:to power and possession and last an emodas Ideen- und Wertesystem. Und darum geht estional bond to certain places. This is what in der ersten Ausgabe. Die „Idee“ im Sinne der hu-the second issue is all about. Places which manistischen Wertediskussion soll in möglichstcreate identity shall be depicted preferabunterschiedlichen Ausprägungen möglichst fa-ly in multifaceted, highly abstracted and cettenreich, abstrahiert und künstlerisch darge-artistic interpretations and peculiarities. stellt werden. Dabei werden auch Aspekte wie Re-Thus we visited places that may not even ligiosität, Philosophie, Hingabe und Leidenschaft,exist any more. Places that, at present, are Moral und Ethik, Wissenschaft und Politik be-highly relevant for each individual's perleuchtet. Und mit jedem kleinen Teil des mensch-sonality and, last but not least, places still lichen Wesens, das wir neu entdecken oder auslying ahead of us that may not even exist einem anderen Blickwinkel betrachten, gewin-in the future, ergo in terms of visions and nen wir – mit etwas Glück – mehr Identität undutopias Stabilität als Individuum und in der Gesellschaft.

Die Theorie der „Sechs Stabilen Zonen“ stammtThe theory of the six stable zones of huvon Dr. Roswita Königswieser und dient alsman identity was developed by Dr. RosGrundlage für das gestalterische und inhaltlichewitha Königswieser and shall be the basis Grundgerüst von Lotto Magazin. Jeder Zone sollof Lotto Magazin's framework in means of eine Ausgabe gewidmet sein. Das Spiel kann be-concept, aesthetics and content. Each isginnen. sue is dedicated to one of the six zones.

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This is an on-site inspection.

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dentitätsstiftende Orte. Wo sind sie und wie findet man dorthin? Die Spurensuche beginnt hier: Laut einer sozialwissenschaftlichen Theorie setzt sich die menschliche Identität aus sechs Zonen zusammen. Und der Mensch ist bestrebt, diese sechs Bereiche stets in Ordnung, also stabil, zu halten. Gelingt es ihm nicht, droht der Identitätsverlust. Zu den sechs Zonen gehören: ein humanistisches Wertesystem, ein solides Verhältnis zu anderen Menschen, eine Beziehung zu persönlichen Dingen und Gegenständen, eine Integration in bestimmten Organisationen und Gemeinschaften, eine wohldosierte Nähe zu Macht und Beherrschung und nicht zuletzt eine emotionale Verbindung zu bestimmten Orten. Und darum geht es in der zweiten Ausgabe. Orte, die für das Individuum identitätsstiftend sind, sollen in unterschiedlichen Ausprägungen möglichst facettenreich, abstrahiert und künstlerisch dargestellt werden. Dabei werden Orte besucht, die der Vergangenheit angehören und vielleicht gar nicht mehr existieren. Außerdem Orte, die in der Gegenwart eine hohe Relevanz für die Persönlichkeit des Menschen haben und nicht zuletzt Orte, die in der Zukunft liegen, und vielleicht gar nie existieren werden – im Sinne von Visionen und Utopien.

Die Theorie der sechs stabilen Zonen stammt von Dr. Roswitha Königswieser und dient als Grundlage für das gestalterische und inhaltliche Grundgerüst von Lotto Magazin. Jeder Zone soll eine Ausgabe gewidmet sein. Wir wagen einen Ortsbesuch.

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dentity creating places. Where are they and how can they be found? The quest starts here: According to a socio-scientific theory human identity consists of six different zones forming a unit. Every individual strives to keeping these six areas in balance, thus stable. If he doesn't succeed, loss of identity is impending. The six zones are: a humanistic value system, a strong relationships to other people, a connection to personal belongings and objects, integration into certain organisations and communities, a well-balanced relation to power and possession and last an emotional bond to certain places. This is what the second issue is all about. Places which create identity shall be depicted preferably in multifaceted, highly abstracted and artistic interpretations and peculiarities.

Thus we visited places that may not even exist any more. Places that, at present, are highly relevant for each individual's personality and, last but not least, places still lying ahead of us that may not even exist in the future, ergo in terms of visions and utopias.

The theory of the six stable zones of human identity was developed by Dr. Roswitha Königswieser and shall be the basis of Lotto Magazin's framework in means of concept, aesthetics and content. Each issue is dedicated to one of the six zones.

This is an on-site inspection.

DETAIL XI ARTWORK BY THOMAS DEMAND

built on a rectangular bevel Detail XI, 2007, C-Print/ Diasec, 94 x 90 cm (c) Thomas Demand, VG Bild-Kunst, Bonn Courtesy Sprueth Magers Berlin London

LOTTO MAGAZIN PLACES / LOCATIONS 198–199

INTERSPACES TEXT BY LAURA ENGELHARDT

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he spaces we live in today are multiple.

They no longer conform to specific sites, flats, houses, streets or places. We do also live in concepts and ideas, in various forms of organisation, in relations, ideals and functions, in roles and as virtual characters. In many respects we do live in between, in a kind of space that is no longer defined by borders. How can we grasp these locations and places? Can they be conceived at all or is it this exact impossibility of conception that constitutes them and demands a radically different approach?

If we think of our spaces and locations they are often less dependent on their explicit properties, forms or formalities than on their capacity to relate and connect. We think our spaces as networks. Measurable unities such as size or distance are not in place any more since digital technology and the internet enable a distance of thousands of meters to be felt as an immediacy and closeness of one meter. The things that can be calculated, localised and controlled seem to become arbitrary or they at least lose relevance.

And that which opens up instead appears as an infinite space of spontaneous and random change, potential conjunctions and relations that cannot be controlled by concrete unities any longer.

We live less in a metric space than in an intensive time. The space can neither contain that time nor can it really contain us. So it opens up and slips from our grasp into a vagueness of tendency and movement.

Multiple spaces / holes and cracks in unifying concepts / dispersed thoughts (and/on rising gaps)

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If our spaces are not static, if they rise, crumble and move and cannot be contained in a specific idea or form of life, they should be considered within their capacity to generate idea and life, as that which defines becoming. Ideas themselves build spaces as moments where certain flows of thought coincide and connect, causing an event in our neuronal network, which gives rise to action. Each idea defines the beginning of an emergence and that which defines emergence might already be named a place. Then the idea moves on or gets detached by another. Even ideas cannot be held. And the idea cannot hold us anymore.

There might be no conception left that would abstract us from our moving environment and lift us above it. And maybe then, neither a delimiting and carefully practised distribution of roles nor a neatly bounded single-family home can wrap us into the comforting habit

of having a distinct and reassuring place in nature anymore. Our future residences might no longer be representative places at all, but rather crossings, transitions, bridges and passages.

Interspaces will become our primary residence and the upcoming voids might be less of an emptiness but instead intensive turmoils that disperse us, part-here, part-there. Spaces and scenes will happen and pass.

Corporeal spaces / the becoming-space of the body / sensed thresholds (and/of unmediated experience) If ideals, roles and images can no longer bind us, then we also will become manifolds and fluctuating ideas. What cannot be explained can only be immediately experienced and sensed: so we might become body again, flesh and skin and that which moves this body. Its engine are affects and sensations which run through us without any detours of abstract mediation, incorporating us into our surrounding.

We do not really walk on roads, stand on places and in front of sceneries, we move as inherent part within them and they move within us.

Ultimately the body might become our closest location, being capable of extending and expanding with each experience and perception.

We do in fact live in connections, in intensities, forces and relations, what keeps us upstanding is the continuity of this conjunction and movement.

Moving spaces / paths of the unknown or unknowable The human becomes a nomad once again, a traveler within this network. The paths are not straight anymore, not determined and predictable. Their evolution might not be one of progress. The paths become curves, maybe even circles, non-linear serpentine lines which jump and intertwine. In a corporeal world no curve runs straight, but bends, winds and inflects with each single interaction. Each point of inflection constitutes and actualizes a place which allows the unknown to become. We live in- between virtual and actual tendencies which can neither be represented by a given image nor by a specific plan. Their organisation is detached from controlled planning. These places organise themselves, they compose flexible and transformative structures, far apart from the linearised and concrete patterns of human reason.

In such places we will probably not live according to plans, but as internal fractions where being-located becomes location itself.

THERE ARE MANY PLACES. SOME YOU REMEMBER. Ippolito Fleitz Group – Identity Architects Stuttgart | Zürich | Seoul | www.ifgroup.org

Canteen of „Der Spiegel“, Hamburg

We Will Survive ulrike Buck, 2012

ArtAry

PLACES OF THE PAST

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OBJECTIVE STATION CHRISTOPH SEEBERGER

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WE EUROPE MAGALIE MABANDZA

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SIMPLY THERE MARTIN SIGMUND

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SOLID/LIQUID: 6 SEC JEAN-PHILIPPE CORRE

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HEIMATFILME EMMA NEUFELD

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DEM HIMMEL SO NAH DAVID SPAETH & PATRICIA KEMPF

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NEW YORKER VASCO MOURAO

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THE WHITE HOUSES XIAOCI BAI

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NO PLACE FOR NO MAN BORIS GUSCHLBAUER

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INTERIORS FOR GOVERNANCE AND ART IASSEN MARKOV

OBJECTIVE STATION PHOTOGRAPHY BY CHRISTOPH SEEBERGER

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WE EUROPE INTERVIEW BY MAGALIE MABANDZA

that we are seeking common problem-solving strategies on the European level.

PROF. DR. CATHLEEN KANTNER IS HEAD OF DEPARTMENT OF INTERNATIONAL RELATIONS AND EUROPEAN INTEGRATION AT THE INSTITUTE OF SOCIAL SCIENCES AT THE UNIVERSITY OF STUTTGART. HER TEACHING AND RESEARCH INTERESTS FOCUS ON INTERNATIONAL RELATIONS, TRANSNATIONAL PUBLIC COMMUNICATION, EUROPEAN SECURITY AND DEFENSE POLICY AND THE EMERGENCE OF TRANSNATIONAL IDENTITIES.

On the other hand, people also often share a common ethical self-understanding, I call it “communio identity”, it refers to the community. Do Europeans have common values regarding what a “good life” might be? What are their understandings of a European social model? How much injustice do they tolerate inside their society? What is the right common foreign and security policy? What international decisions should be made and how? Which normative convictions of a fair world order do Europeans share?

FOR LOTTO MAGAZIN SHE TALKS ABOUT EUROPEAN IDENTITY AND WHY IT IS SO DIFFICULT TO GRASP. Lotto Magazin: How did you get involved to deal with the topic of European identity?

Prof. Dr. Cathleen Kantner: The way several speakers and scientists talked about European identity in the 1990s and 2000s alienated me.

The lack of a European public sphere, a common language and transnational identity were commonly assumed without tangible scientific research on the question. Instead of talking about the concrete political tasks of Europeans in their own countries and on the European level and to look for tangible solutions, speakers too often insisted on the fact that democratic reforms would not be possible in the EU. As a scientist I was shocked that the alleged lack of a European public sphere and identity was almost not empirically tested. This was against scientific standards. In addition to that with my classic liberal democratic convictions the rejection of democratic political reforms seemed highly questionable.

Do you really believe that present-day Europe lacks a European identity? Or is this just a common public opinion?

There is no simple answer to this question. It very much depends on how you define the term “identity”. Different authors have different interpretations of the concept of identity.

In the study of collective identities, I distinguish two types of identity: On the one hand, there is something like a common, pragmatic problem-solving awareness that is shared by the members in spite of different interests, values and motives. I call it “commercium identity”- it refers to a society. In my opinion, one can observe that we Europeans certainly share a common problemLOTTO MAGAZIN solving awareness in PLACES OF THE PAST regard to many pre214–215 vailing questions and

So what do you think might be able to create this sense of personal identification with Europe?

In my opinion a common European identity should not be presented as a harmony, but rather as a “corridor of shared beliefs”, in which disagreement is expressed. Actually the same thing happens in the nation state – even at “home” dissent is expressed within a certain range of ethically acceptable positions.

Compared to non-Europeans, let’s say US-Americans, many European conflicts appear to be minor differences. For instance in social-political issues most Europeans would be supporters of the Democratic Party in the United States. Certain radical-libertarian views, that are shared by broad groups in the U.S. would fall outside of the ethical “corridor” in Europe. The same applies to religious matters or the foreign and security policy.

My understanding of identity is based on a theme-specific approach. Whether we share a pragmatic problem-solving confidence, or even certain ethical ideas, one cannot judge on a flat rate.

In fact, one would have to observe and judge specific aspects.

In my research I analysed European identity in the key area of foreign and security policy.

Despite all the differences and frequent dispute, there is a common core of basic ethical beliefs that clearly distinguishes Europeans from USAmericans and other people in the world. For instance, multilateral decisions within the UNO are perceived as a crucial legitimation tool for humanitarian military interventions. Unlike in the U.S., international institutions are perceived as essential actors to secure the international order and to establish clear rules.

What is the interconnection between a geographical Europe and a European identity?

The borders of the European area are not de-

fined geographically. They are the result of political decisions. For an understanding of Europe as a problem-solving community geographical Europe is irrelevant. Places (such as monuments or the EU enlargement) and objects (like the flag or our Euro coins) play a role only if they are interpreted as symbols for certain events. However this belongs to the realm of the politics of memory. In this case we would already have a community of values (commercium identity). Central places or historical events are important for the members of such communities. They come together regularly in order to remember certain events. They want to cultivate and strengthen their traditions.

To what extent is the European identity necessary, particularly in the context of the European economic crisis?

Primarily significant is the “commercium identity”, which is often underestimated. The political will to solve a problem and to contribute in a constructive way is a crucial condition to deal with central today’s issues. This pragmatic identity should not be minimized or underestimated just because some may want more enthusiasm of the European citizens. Of course it would be helpful if the EU had more democratic institutions and, above all, a strong parliament.

Today, the population has the feeling that a few political elites make important decisions about them. Here one misses a collective solution of “our” problems.

SO DA PHOTOGRAPHY BY MARTIN SIGMUND

above: GRÜMPENTALBRÜCKE

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lmost sublime the bridges are standing about in the landscape, quiet and isolated, more like cathedrals. They won´t be connected to any traffic system for who knows how long. For sure it will be like this a little longer.

Miscalculations of the German Bahn AG (“Wahn AG“ , i.e. “Strain Inc.”, see ZEIT Jan 13th, 2011) resulted in the likely reconstruction of bridges and sections on the new fast track line between Nuremberg and Erfurt before it will be used for the first time. The vernacular calls them “Simplythere bridges” because they are simply there.

Martin Sigmund statically put those “Simplythere bridges” in focus with a large format camera.

In the snowy landscape they seem like they have fallen out of time but at the same time they feel like a natural part of the landscape. One should not assume that the poetic character of those buildings might ignite contemporary minds. And yet this is what it does. The bridges are a synonym for troubled Germany.

The question of what democracy actually means had not been raised in Germany for ages as loud and as vehement as in the Stuttgart of recent times. The widely postulated indifference and disenchantment with politics has turned into the opposite when German Railway and the government of Baden-Wurttemberg decided to build the railway and urban development project Stuttgart 21 over people’s heads. The expensive prestige project was confusing and angered many Stuttgart citizens thus they loudly vented their displeasure about the project.

These days, policy changed from an abstract term to a personal affair. Hence, construction sites planned by the public sector have become symbolic for democratic opinion shaping. In her unworldliness the “Simply-there bridges” in Sigmund’s photographs stand for beforehand. For a world planning without interference by the citizens, for a period ante legem. In those bridges the complex system of politics is manifested as a visible and understandable fact. To that the citizens are able to respond.

left above: ARNSTADT-SAALFELD left below: TUNNEL SANDBERG below: HUMBACHTALBRÜCKE

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ast erhaben stehen die Brücken in der Landschaft, still und isoliert wie Kathedralen. Sie sind an kein Verkehrsnetz angeschlossen und das wird wohl noch eine Weile so bleiben. Fehlkalkulationen der „Wahn AG“ (s. ZEIT vom 13.01.2011) führten dazu, dass die Brücken und Teilstrecken für die neue Schnellfahrtstrecke zwischen Nürnberg und Erfurt wahrscheinlich saniert werden müssen, bevor sie überhaupt das erste Mal befahren worden sind. Der Volksmund nennt sie „So-da“Brücken, weil sie einfach so da stehen.

Martin Sigmund hat die „So-da“-Brücken mit der Großformatkamera statisch inszeniert, in der verschneiten Landschaft wirken sie wie aus der Zeit gefallen und zugleich wie ein natürlicher Teil der Landschaft. Man sollte nicht vermuten, dass sich an diesen poetisch anmutenden Bauten die Gemüter der Gegenwart entzünden.

Und doch ist es so. Die Brücken sind ein Synonym für ein unruhiges Deutschland.

Schon lange nicht mehr wurde die Frage, was Demokratie eigentlich bedeutet, in Deutschland so laut und so vehement gestellt, wie im Stuttgart der letzten Jahre. Die überall postulierte Gleichgültigkeit und Politikverdrossenheit hat sich in ihr Gegenteil verkehrt, als Bahn und Land den Bau des Bahnhofsprojekts Stuttgart 21 über die Köpfe der Bevölkerung hinweg beschlossen. Ein großer Teil der Bevölkerung sieht in dem teuren Prestigeprojekt keinen Sinn. Und tut seine Meinung laut kund.

Politik verwandelt sich in diesen Tagen von einem Abstraktum in eine persönliche Angelegenheit und von öffentlicher Hand geplante Baustellen werden zu Symbolen für eine demokratische Meinungsbildung. In ihrer Weltabgewandtheit stehen die „So-da“-Brücken in den Fotografien von Sigmund für ein Davor, für eine Weltplanung ohne Einmischung durch die Bürger, für eine Zeit ante legem. In ihnen manifestiert sich das komplexe System Politik als ein sicht- und verstehbares Faktum. Und darauf können die Bürger antworten.

left above: HUMBACHTALBRÜCKE left below: GRÄFINAU_ANGSTEDT above: ILMTALBRÜCKE

SOLID/LIQUID: 6 SEC PHOTOGRAPHY BY JEAN-PHILIPPE CORRE

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HEIMATFILME ARTWORK BY EMMA NEUHAUS

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or her artwork “Heimatfilme” artist Emma Neufeld retraced events in movies she watched at home on DVD. Thereby, her single paintings are composed by additionally combining all scenes of each movie on a single sheet. picture: SHANGHAI TRIAD

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HEIMATFILME

BY EMMA NEUHAUS

above: PARIS JE T´AIME picture: GANGS OF NEW YORK

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picture: HIMMEL ÜBER BERLIN

DEM HIMMEL SO NAH

BY DAVID SPAETH & PATRICIA KEMPF PHOTOGRAPHER DAVID SPAETH AND PATRICIA KEMPF VISITED PLACES THROUGHOUT SWITZERLAND WHERE PEOPLE DECIDED TO DEPART THIS LIFE. IN THEIR WORKS THEY DISCLOSE THE DISCREPANCY BETWEEN THE BEAUTY OF NATURE AND THE IRREVOCABLE FACT OF DEATH. AN ARTISTIC EXPOSURE AND COMMENT ON THE INEXPLICABLE HEIGHT OF SWITZERLAND’S SUICIDE RATE.

above: GONDOSCHLUCHT 100 x 80 cm, Auflage 6

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ach year in Switzerland 1,300-1,400 that the deceased had shown 'strange behaviour', people commit suicide. This corresponds although at the respective time this behaviour to about four suicide-related deaths seemed normal to them. per day, or a suicide rate of 19.1 per 100,000 Other studies only consider patients with a population. Thus Switzerland remains, after known psychiatric illness. Those studies also Russia, Hungary, Slovenia, Finland, and Croatia, show a high proportion of mentally ill people one among the countries with higher than among suicidal persons. This tends to be even average suicide rates with scientific evidence underestimated, because many psychiatric disorlacking why the suicide rate in Switzerland ders remain undiagnosed. Suicide therefore ofis higher compared to THUS SWITZERLAND REMAINS, ten occurs in all psychoses neighbouring countries. The AFTER RUSSIA, HUNGARY, SLOVENIA, especially with depression relatively common cause of FINLAND, AND CROATIA, ONE AMONG and manic-depressive illsuicide or attempted suicide THE COUNTRIES WITH HIGHER THAN nesses (bipolar disorders). is seen in diagnosable mental AVERAGE SUICIDE RATES Addiction and chronic pain disorders. A high percentage of all suicides in also play an important role as they have a smooth Western societies is attributed to this. Since the transition to depression. Suicide-causing factors diagnosis is often made only after a suicide has can indeed be life crises such as separation from been committed, this classification is at least the partner, fear of failure and economic ruin questionable as this diagnosis is based on the but as the sole background of suicide this is only suicide act itself and the description of family found in approximately 5 to 10 percent of all camembers. These descriptions sometimes are ses. However, it is assumed that there are both incomplete, inaccurate, or the family gives an an internal and an external cause of depression, undue importance to irrelevant events (recall that is, a patient prone to depression will become bias). For example, the family had the feeling depressed by his circumstances.

above: AM RHEIN 100 x 80 cm, Auflage 6 right: SUFENER SEE 100 x 80 cm, Auflage 6 next page: SÜDAUFFAHRT ST. GOTTHARD 100 x 80 cm, Auflage 6

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this place that so many

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above: LAGO DELLA PIAZZA 100 x 80 cm, Auflage 6 right: GLAUBENBERGPASS 100 x 80 cm, Auflage 6

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ährlich sterben in der Schweiz zwischen weise haben die Angehörigen das Gefühl, dass 1.300 und 1.400 Menschen durch Suizid der Verstorbene sich „merkwürdig“ verhalten (ca. 1.000 Männer und 400 Frauen). habe, obwohl sie das Verhalten zu dem betrefDies entspricht knapp vier suizidbedingten fenden Zeitpunkt als normal empfunden hatten.

Todesfällen pro Tag oder einer Suizidrate von 19,1 Andere Studien betrachten nur Patienten mit bepro 100.000 Einwohner. DIE SCHWEIZ GEHÖRT NACH RUSSLAND, reits bekannter psychiatriDamit gehört die Schweiz UNGARN, SLOWENIEN, FINNLAND scher Krankheit und zeigen nach Russland, Ungarn, UND KROATIEN ZU DEN LÄNDERN MIT ebenfalls einen hohen AnSlowenien, Finnland und ÜBERDURCHSCHNITTLICH HOHER teil von psychisch Kranken Kroatien zu den Ländern SUIZIDRATE. an den Suiziden, tendenziell mit überdurchschnittlich hoher Suizidrate, wobei wird dieser hier sogar unterschätzt, weil viele wissenschaftliche Erkenntnisse fehlen weshalb psychiatrische Erkrankungen nicht diagnostidie Suizidrate in der Schweiz im Vergleich zum ziert werden. Suizid kommt demnach gehäuft benachbarten Ausland so hoch ist. vor bei Psychosen, vor allem aber bei DepresDie relativ häufigste Ursache für einen Sui- sionen und manisch-depressiven Erkrankungen zid bzw. Suizidversuch wird in zu diagnostizie- (bipolaren Störungen). renden psychischen Erkrankungen gesehen. Ein Suchterkrankungen und chronische Schmerhoher Prozentsatz aller Suizide in westlichen zen spielen ebenfalls eine gewichtige Rolle, haGesellschaften werden hierauf zurückgeführt. ben aber auch fließende Übergänge zur DepresDa die Diagnose häufig erst nach einem sion. Den Suizid auslösende Faktoren können erfolgreichen Suizid als Verdachtsdiagnose dann zwar Lebenskrisen wie die Trennung vom gestellt wird, ist diese Einteilung zumindest Partner, Versagensängste oder der wirtschaftlifragwürdig, da zur Diagnose nur die Suizid- che Ruin sein – als alleiniger Hintergrund eines handlung an sich und die Beschreibungen von Suizids kommt dies aber nur in ca. 5 bis 10 % Angehörigen herangezogen werden können. der Fälle vor. Es ist jedoch davon auszugehen, Letztere sind unter Umständen unvollständig, dass sowohl eine innere wie eine äußere Ursafehlerhaft oder unwichtigen Begebenheiten che für eine Depression besteht, d. h. ein für Dewird im Nachhinein eine unangemessene Be- pressionen anfälliger Patient wird durch seine deutung beigemessen (Recall Bias), beispiels- Lebensumstände depressiv.

right: UNTERER GRINDELWALDGLETSCHER 100 x 80 cm, Auflage 6

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stab slash puncture and wounding is rife

NEW YORKER ILLUSTRATION BY VASCO MOURAO

LOTTO MAGAZIN PLACES OF THE PAST 240–241

EXCERPT FROM “CHRONIC CITY” TEXT BY JONATHAN LETHEM ALREADY PUBLISHED BY TROPEN VERLAG

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ann kam der merkwürdig verlockende Schokoladengeruch, der wie eine Wolke über Manhattan hing. Zuerst dachte man, es sei lokal, man sei unbewusst an einer Bäckerei vorbeigelaufen, hätte irgendeinen süßen Schokoduft geschnuppert, der Heißhunger und Erinnerungen weckte. Man suchte die Straße ab, fand nichts, ging weiter, aber der Geruch begleitete einen überallhin, auch in die Wohnung, obwohl die Fenster verschlossen waren. Wieder auf der Straße sah man die anderen hochschauen und gedankenverloren Luft einsaugen. Und schnell bestätigte es sich: Ja, man roch dasselbe.

Downtown sei es genauso gewesen, sagte jemand ziemlich nervös. Jemand anders meinte,

sogar in der Subway. Auf den Gehwegen der Lexington Avenue, die sich normalerweise in feindseliges Schweigen hüllten, brachen die Leute plötzlich in Willy-Wonka-Vergleiche aus.

Ein Passant sagte, er habe an einen Eisbecher gedacht, ein anderer erwiderte: Nein, Sirup oder Crêpes. Oder ein bisschen melancholisch: Seit vierzig Jahren habe ich keine solche Lust mehr auf Eiscreme gehabt. Irgendjemand sagte, der Bürgermeister habe bereits ein Statement abgegeben, merkwürdig knapp, vielleicht verheimliche er etwas. Die Schokoladenwolke spaltete Manhattans Gemüter in zwei Lager, was unweigerlich an den grauen Nebel denken ließ, der sich zwei oder drei Jahre zuvor auf die unteren Teile der Insel gesenkt hatte oder darüber abgeladen wurde, wie manche sagten, und der seinen verhängnisvollen Griff noch immer nicht gelockert hatte. Tausende Theorien lagen in der gesüßten Luft, aber keine Untersuchung konnte die Quelle des Geruchs feststellen. Und doch war es Schokolade, unendlich lecker und albern. Jeder, der darüber sprach, gab heitere Schokoladenmetaphern zum besten. Sogar der Kommentar des Bürgermeisters in den Nachrichten enthielt einen subtilen Witz, wie noch nie zuvor einer über diese verkniff enen Lippen gekommen war: Er nannte es den süßen Geruch des Erfolges.

THE WHITE HOUSES PHOTOGRAPHY BY XIAOCI BAI

below: CITY HALL OF YINGQUAN DISTRICT, Fuyang

above: NANCHANG DISTRICT COURT, Wuxi

LOTTO MAGAZIN PLACES OF THE PAST 244–245

above: NEW DISTRICT COURT, Wuxi

above: CHONGQING CITY COURT

LOTTO MAGAZIN PLACES OF THE PAST 246–247

walls that were bound with ground above: CHENGDU CITY PROCURATORATE

NO LAND FOR NO MAN PHOTOGRAPHY & TEXT BY BORIS GUSCHLBAUER

N

o land for no man. An uninhabited where me and my traveling companion, Alex, territory. Unowned country, neither by want to sell our car in order to finance our twoa company nor by a private citizen. A month journey from Berlin to Black Africa. stateless piece of land. Mostly as a buffer zone The Moroccan customs lodge looks like the between hostile states to curb aggression. last bastion of civilization at the end of the world, In the seclusion of the great desert between worn down by extreme temperature differences, the Islamic Republic of Mauritania and the blazing sun and repeatedly passing sandstorms.

Western Sahara the entire desolation of such The nearest towns in this endless desert are a non-place reveals. A THE NEAREST TOWNS IN THIS ENDLESS 380 kilometres north piece of land that has DESERT ARE 380 KILOMETRES NORTH and 45 kilometres south, been fought over since AND 45 KILOMETRES SOUTH, SEPARATED separated by no man's the Spanish colonial rulers BY NO MAN'S LAND. THIS SEEMS TO BE land. This seems to be the had departed and finally THE HOME OF MELANCHOLY. home of melancholy. As was annexed by Morocco. A four-kilometre though by chance the customs officer speaks wide demarcation line contaminated with anti- some German. He has lived in Frankfurt for personnel and anti-vehicle mines ever since the some time and wants to know if we have books war between Morocco, Algeria and Mauritania. that we can give to his son, so that he can learn A non-circumnavigatable obstacle on the way German. Unfortunately, Alex only reads English from Morocco to Dakar, Senegal’s capital, books and I have just commenced the translated

LOTTO MAGAZIN A GREGARIOUS ANIMAL 250–15

version of Don Quixote and therefore refuse his request. The customs officer smiles nonetheless, puts the exit stamp in the passports and reminds us emphatically: “Do not leave track! Otherwise, you explode!”

Easier said than done, because the track is solely composed of hard packed sand, no lumps of asphalt far and wide. Shortly after the customs the track still resembles a road leading past barbed wire shacks entangled with garbage that has been scattered by the strong desert wind.

But as soon as the customs is out of sight, the trail unfolds into multiple tracks and becomes a kind of maze. So we follow hard to the bumper of a small car, which we have to let go shortly afterwards as our old van is not fit for the desert and bounces through the potholes so badly that we are afraid to tip over. Quickly the car ahead of us vanishes between the dunes. Anxiously

we keep on rolling, meticulously observing officers don’t let themselves get worked by the track in the hard packed sand ahead of us. anything. Unperturbed by the waiting travellers, Predominated by uncertainty of what actually is they loaf about in the shade of a corrugated iron part of the track and what is not. Every second roof, pour black tea from one glass into another we expect to meet the same fate as a group of and back into the battered tin teapot over and French tourists in 2007 who were blown up by over again. It may only be a matter of hours a mine. before it’s our turn to undergo the countless Few brief moments remain to examine no border formalities. man's land. The environment appears to be a The unbearable heat in the stationary cars reincarnation of the set design of “Mad Max drives everybody outside. The fierce desert III - Beyond Thunderdome”. An apocalyptic wind blows fine sand into every little pore like scenario. Gutted car wrecks, partly covered a sandblaster and hurts on the skin and in the with burn marks, standing in the desert’s void eyes. Everyone seeks shelter from the wind at looking like metal animal carcasses, which have the far side of their vehicles. Our minibus is been picked clean to the bone by the vultures. shaking back and forth in the gusts and the old Elsewhere roadworthy cars are parked in the suspension is squeaking. Nobody dares to go sand, some of them with German license plates, further into the desert than 20 metres even to do neither hide nor hair of the owners. These number one and number two. Too big is the fear are stolen cars, whose drivers were denied of mine fields. Only the bravest seek protection to enter Mauritania. They have abandoned behind a burned-out Audi, which was was left their vehicles to their stateless fate. Then to fate about 50 metres off the track. again, a pile of tires between sand dunes, or Hours later, with the sun tend to set, we are refrigerators sparkling in the glow of the desert allowed to cross the border. The baksheesh, a sun, or some other indeterminable metal scrap. 20-Euro note in our passports, accelerates the I see a truck that must FEW BRIEF MOMENTS REMAIN customs officers’ work. be driven over a mine.

TO EXAMINE NO MAN'S LAND. Various papers are passed The lower part of the THE ENVIRONMENT APPEARS from hand to hand, more driver's cabin has been TO BE A REINCARNATION OF THE SET money disappears into destroyed completely by DESIGN OF “MAD MAX III - BEYOND the pockets of their an explosion. It almost THUNDERDOME.” uniforms, and with a looks as if the truck wants to disappear in succinct gesture we are asked to proceed. We the sand. One thing is clear, no one will ever are one of the last vehicles that are allowed to dispose of all this waste. Eventually it does not pass to Mauritania this day before the frontier belong to anyone. post calls it an early day. When we eventually After what feels like an eternity, we discover feel asphalt under the tires, I think of the others the green flag with the yellow crescent and star who have not made it today and now must of the Islamic Republic of Mauritania on the spend the night in no man's land. Involuntary horizon. Unfortunately, there is an endless queue protagonists of an apocalyptic movie come of cars at the border checkpoint. The custom true.

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LOTTO MAGAZIN A GREGARIOUS ANIMAL 254–15

INTERIORS FOR GOVERNANCE AND ART TEXT & ARTWORK BY IASSEN MARKOV

T

hese pictures emerged partly from the tales of my all-talented uncle. By the time they took a vague appearance in my mind, I couldn’t even imagine their glowing clarity, but nevertheless, as a child, I was determined to fulfill my dream of arriving to the place to which they belonged. I always had the chance to listen to so many of my uncle’s stories at family gatherings, but I was never allowed to speak with him too long, and some of those stories I have already forgotten.

In the summer of 2008, when I almost drove over an owl (some argue it was a fox), the rapidly changing rooms from my uncle’s tales ran through my mind like scenes from a film:

pictures from a place of unfathomable power or infinite sadness. Some days later, as the journey went on, I found myself at a beach bar. Out of nowhere appeared Yovo Panchev (who would always appear out of nowhere, but at that time I wasn’t aware of this). Telling us something about a fox, I interrupt him and ask: “Hey, do you know my uncle?”-“Konrad-Orlivo is your uncle?!” After the tenth gin and tonic, Yovo reveals that a comprehensive collection of my uncle’s work is kept beneath the ministry, in the emergency underground tunnel system. “Bangin’!” he said.

We have a flashlight, and the security guy is in good spirits with his home-brewed gift, winking us inside. This is what we saw.

LOTTO MAGAZIN A GREGARIOUS ANIMAL 256–15

LOTTO MAGAZIN PLACES OF THE PAST 258–259

LOTTO MAGAZIN A GREGARIOUS ANIMAL 26 0–15

THE MINIATURE

What was intended to become a lightning sculpture never was (or wanted to be) completed. He even liked the scaffolding on the bottom part of the sculpture so much that he decided to reveal the construction of lightning to the observer. Why green? Already in the 1980s Konrad-Orlivo was aware of the global switch to green electricity despite all the risks, and had the idea to produce a flat pad made from the element Mahagonium (Ma), which was easily combustible when bombarded with electrically charged particles. The sculpture rested on a monolithic base of red marble. Its static properties were sustained in the first two segments of the wire frame structure such that there was a visual clash: the lightning’s electric tension vs. the stone’s tranquility. The hall is a tribute to the artist’s projects for the German Autobahn, and beyond the two plastic trajectories, which symbolize a highway, there is a radio locator proofed against pigeons. Any of the insects that might eventually climb over the parabolic dish would be unpleasantly surprised by the floral elements at the base of the antenna.

Enriched by a sugar substance, they are a deadly attraction to curious ants and beetles, probably also to the so-called smart bugs, which might want to interfere with the data transmission flow.

THE SMALL OIL-SPACE OF HOPE

This space is a 1:1 replica of a Perla’s secondary space (except for the ceiling). The columns of hardened mineral oil elaborately amalgamate with the black reflecting floor. In the upper part of the hall, under the expressively designed airshaft of exposed concrete, one discovers traces of mildew: pure evidence that an attractive appearance should not take precedence over physically sound solutions dictated by reason. The Architect (in this case Konrad-Orlivo Markov) has deliberately omitted the door, in order to stimulate a fluid movement through the residence. To minimize the passage of noise between spaces, he integrated a niche in the corridor. Looking inside, one has the opportunity to admire a rigorously curated collection of taxidermy foxes and owls. In the center of the small oil space is the rotational object of grey-scaled porcelain—a miniature of the roof ornament for the water tower in Tryavna, Bulgaria. The eight-cornered storage tank at the base of the object filters water from oil remnants and transfers it to the balloon reservoir, where chemically pure water undergoes hydro-extraction and the immense gravitational forces filter out mechanical particles. During this cathartic process, scales of grey generate a well-tempered accord of porcelain tones that arouses a mood of calm hope in the visitor.

THE WHITE CASSETTE HALL

In the White Cassette Hall, there are seven chairs, a spatial oval on a pedestal, and a very stable stone bed frame bearing a flexible spherical landscape and a rear wall made of marble and ham. The chairs have the function of a seating opportunity, whereby the left group of four is appropriate for boring, diffuse light constellations, and the right group of three, especially the

pyramid chair affords the best open view for the direct illumination of the incomplete half-perfection of the Zebrosphere. From the generous window on the right, a gentle breeze blows in, enriched with nano-water particles from the Iguacu waterfall, so that the half-wet stone surfaces appear more natural. The small, neat mausoleum (probably a miniature of the larger Zebrosphere) made out of the wonderful element Mahagonium (right side front) has a sphere on top. It has obviously been bitten. Originally thought to be made out of marble, the victimized nature of the round shape reveals a shy zebra inside. With the shimmering horror of death in its eyes, it glimpses the looming, vertical reflections of the Iguacu Falls and its certain, but adventurous end, far away from the warm savannah.

THE GALLERY HALL

The Gallery Hall arose in a tunnel crossway. Probably the invisible hand of fate should take responsibility for the heterogenous mix of artistic media; though the style of Konrad-Orlivo Markov is not to be confounded with his sensitiveness for detail and perfection, the artist elegantly closes the semiotic circle of the arranged objects’ spatial composition. On the far left, a rare example of mobile art can be seen: Konrad-Orlivo’s Marble Car: a born-to-highway 6 x 6 roadster, fur-coated interior, zig-zag marble car­ riage, a delicate windscreen from a polished stress-resistant basalt. Above it stands a proposition for the reconstruction of Tryavna’s water tower with visible waterfalls. In the center of the composition is a model of the villa designed for Konrad-Orlivo’s muse, who unfortunately committed suicide. In the background a project for the Autobahndreieck Leonberg, a highway junction near Stuttgart, can be seen. Taking a closer look, one might ponder the eminent pragmatism of the artist with regard to his urban infrastructure projects. Two sketches at the right, tilted towards the constructive elements of the space, reduce the gravity of the overall art content.

They are elusively displaced and are to be moved every minute, in order to decorate another space, while still completing the visual harmony of the space and evoking a feeling of equilibrium with the mobile art at the other pole of the hall.

THE RED CONCRETE PASSAGEWAY

Concrete that was cast in place and mixed with blood has been used here instead of water. Sediment masses and reinforcement grids. Norwegian cement and surface oxidation. The idea of the room content is secondary, if not even tertiary. The objects of mystical materiality and meaning are ultimately there just to build the perspective in the background and to hint at specific relations. Concrete layers—vertical in their emergence, but horizontal in appearance; the timber framework, installed horizontally, however grown vertically... the ballast chipping formed though the circulation of water is round, of course! With a gradient color alluring to the two creative hands of the artist, IPE beams carry two cement blocks with the force of a handshake. Mind and body become liquid concrete. At first, wood and cement fuse together due to the high temperature, but after a certain period of time, a white dust reaction eventually occurs.

THE COMPUTER CENTER

Smart materials for smart architecture! It’s no surprise, that Konrad-Orlivo, after his academic training in Germany, would understand that in order to best implement Styrodur’s insulating properties, one must create an 8-bit server architecture in an aesthetic, as well as a hacker-proof, way.

On a Pravetz, the biggest computer at the time, a generic data flow can be observed. Diverse data highways dominate the right side of the screen. In the user terminal (also on the right) is a freeze-frame screensaver with a red marble structure. Exceedingly impressive is the flexible data storage in the tradition of metaballistic architecture (here, I don’t mean metabolist architecture from the 1960s, but instead “metaballistic” architecture based on the 3D metaball function), which resembles a soap bubble foam. The goal is to store information in a transparent way and to improve its searchability. To the left: an air conditioning device.

PERLA

The Perla Residence Project began in 1980. At that time, the aesthetic of cubical cast concrete was quite beloved. Perla has two main spaces and several secondary spaces. The elevator reaches through the massive concrete leg the Residence Hall. An amber floor has been installed, which contains petrified ancient mosquitoes that probably drank mammoth blood.

Down-centered windows are designed to protect the interior from the direct sunlight and minimize pestering reflections. From the concrete ceiling comes cozy neon light, combined with the gradient global illumination of a beveled pyramid. This all bestows the mineral tone of high-heels with an immaterial monumentality. A 60 cm wide-open passageway leads to the East Hall. It has a non-functioning stairway floor plan with little usable area and a big projection canvas. On the platforms we find tiger fur, zebra fur, leopard fur, art objects, and chains. On the screen, we would see a projected reality of dreams: chimneys and bulldozers, swaying in the warm soft black soil.

VERY EFFECTIVE HEAT RADIATORS

When entering the technical floor, we see two of Konrad-Orlivo’s models for heat radiators of the highest efficiency. Through an infrared camera we observe the hot areas of the devices. The red pedestal is the beginning of a clever-clever floor heating system (20°C to 50°C), above which an inverted convector tank has been installed. At further inspection, we notice some differences. On the model Balkan 2000 (left), the Babylon-like Vibrator supports a black-ray lamp for the transmission of heat waves.

The data controller on top illustrates the triumph of the information age over the plumb-quicksilver metal industrial age. Balkan 2000 is a favorable solution in borderline surface conditions, especially when a balanced, comfortable atmosphere is desired. The heat radiator on the right – Balkan

2015D (2015 KW) has a desirable diagonal appearance that allows for visual variations within the context of orthogonal settings. With it, one can attain a homogenous relationship between the floor and the wall heating system. If positioned in front of a door opening, the heating device neutralizes cold air currents from outdoors. The data controller is conceived as a basis of information for the heating process. The mental ray radiator constitutes the closure of the device: a Mickey Mouse-like structure emanates childhood memories, as a way of retrieving warm nostalgic feelings.

128"

In the blue music hall is the world biggest turntable. Konrad-Orlivo Markov was commissioned with the planning of the device. From the engine deck, which resembles Boullée’s Cénotaphe à Newton, a perfect sphere has been extracted by means of a Boolean operation. This form-shaping act corresponds with the musical concept of the 128" vinyl record; but instead of being added to the environment, sound is subtracted from silence, thus creating negative music. It is particularly fun to un-dance to it. The room tapestry reveals what is normally invisible to the eye: black waves absorb light, while blue represents conventional reflection.

P

Paradiso Reisemagazin Nº 1 I TA L I E N

Frühjahr 2012 7 Euro

A R

N

E

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A D I S O Paradiso ist ein hausgemachtes Reisemagazin.

In der ersten Ausgabe geht es um Italien.

Erhältlich in ausgewählten Buch- und Zeitschriftenhandlungen oder über www.paradisomagazin.com

PLACES OF THE PRESENCE

Page 266

STONEHENGE & COLD METAL BORA TANAY

Page 270

HOME, RECONSTRUCTED KATHRIN STÄRK & MANUEL WAGNER

Page 276

Page 278

NO CHAIR II XAVER SEDELMEIER

Page 286

SLEEP PROTOCOL SVEN JOHNE

Page 288

BROKEN MANUAL ALEC SOTH

Seite 296

BEUKELSBLAUW & YELLOW STREET FLORENTIJN HOFMAN

Page 296

GENIUS LOCI FABIO NOVEMBRE

Seite 300

NO MAN'S LAND MISHKA HENNER

Page 308

DAS AMT CEDRIC BOMFORD & TREVOR GOOD

Seite 314

WOVEN TAPESTRY ERIN M. RILEY

Seite 315

A1 RAINER BRENNER

LANDSCAPES FOR THE PEOPLE MARK LYON

Page 322

CLOUD PROJECTIONS BLAKE GORDON

Seite 328

UN ALEXANDER STEHLE

Page 332

VITREOUS OPACITY VS. NERVOUS SYSTEM DO EYE FLOATERS ARISE FROM THE VISUAL NERVOUS SYSTEM? FLOCO TAUSIN

Page 336

CONTRADICTIONS FILIPPO MINELLI & DAVID PIERCE

STONEHENGE PHOTOGRAPHY BY BORA TANAY

LOTTO MAGAZIN PLACES OF THE PRESENCE 266–267

backyard, paving slabs in distress COLD METAL PHOTOGRAPHY BY BORA TANAY

LOTTO MAGAZIN PLACES OF THE PRESENCE 268–269

picture: SPLIT, Kroatien 2011

LOTTO MAGAZIN PLACES OF THE PRESENCE 270–271

“WE MIGHT STOP MAKING A DISTINCTION BETWEEN <GLOBAL> FORCES AND <LOCAL> PLACES. (…) IT DRAWS US INTO GLOBALIST PHANTASIES BY OBSCURING THE WAYS, THAT THE CULTURAL PROCESSES OF ALL <PLACE> MAKING AND ALL <FORCE> MAKING ARE BOTH LOCAL AND GLOBAL (...)” (ANNA TSING)

HOME, RECONSTRUCTED TEXT BY KATHRIN STÄRK PHOTOGRAPHY BY MANUEL WAGNER

If we are now talking about the specificity of places in modern times, we charge a physical space with personal meaning. The retreat into the private sphere has become a household e live in a borderless world in which word. It means the retreat into a shelter that the cultural enslavement of places has prevents any disturbance if the globalised envigained a new quality. Locality evaporates ronment again importunes us. Yet this does not as we slither through our globalised, networked mean that this shelter is distinguished by local everyday life. In the face of increasingly flexible or spatial dependence. Not only because of the lifestyles the particular tendency to socio- flexible labour world, our life is determined by economic de-limitation has become a buzzword mobility, by which new social spaces take on - not only in cultural studies. To the extent to with significance. And others disappear. which the world is shrinking and opportunities Locality is becoming more and more a are increasing, locality and regional references product of social practices. A space is charhave become new reflective variables. ged for oneself with personal significance. A So if we get to grips with places we inevi- phenomenon that Asta Vonderau has picked up tably come upon Marc Augé, who identified so in her essay “Das Zuhause und das Motel – called “non-places” for “supermodernity”. They Territorium contra Niemandsland” (“The home define themselves only ex negativo as spaces, and the motel - territory versus no man's land”). but they are no places in an LOCALITY IS BECOMING MORE Mobility through work, the anthropological sense. They AND MORE A PRODUCT OF SOCIAL mobility of labour itself, or have no identity and do PRACTICES. A SPACE IS CHARGED even the pervasive mobility not evoke anything social: FOR ONESELF WITH PERSONAL of our post-modern being “Such as a place is marked SIGNIFICANCE. determine the multi-mobile by identity, relationship, and history, a space that life of job hoppers, relationship nomads, cyberhas no identity and calls itself neither relational cosmopolitans, border-crossers and migrant nor historical, will be (or defines) a non-place.” lives. It seems artificial to cast these individuals Non-places. These are airports, shopping malls of the mobile society in a typology. However, and petrol stations. They are not relational, not again and again categories are invented such designated historically, their classification, how- as “shuttles, long-distance relationships, longever, depends on a rather subjective perception. distance commuters, itinerants, and foreign In Augé’s view all transport, information workers”. and communication spaces are non-places. Yet However, also Vonderau doubts whether this what does that imply for today’s new means and sufficiently covers all types. She tries to take types of communication that entail new action a detached view of these forms of discourse patterns? Given that, they yield other places of and their typologies of mobility. She examines, social significance, which are given importance “what the place means as a living experience by the occurring communication? In that regard for the professional traveller”, and sets out to the significant space-bound character of culture find the appropriate vocabulary to be able to has lost validity. capture these local experiences and to descriThis raises the completely new question be them properly. She asks questions like: Do of what value the specificity of places in the professional travellers in general have a private modern era is, and how to establish it. Regio- place? Is home an apartment with a fixed address nal references have the nature of a construct, and a postal code? Or does one rather set up which is revealed by the concept of home and a “substitute home” by charging spaces with its emotional, social-political, and ideological emotions? And, to return to Augé: Is a hotel implications. A certain odour sticks to it, so- actually a non-place, or rather an as-if-at home? mething fuggy, which is affirmatively charged.

The real location as an identity originaThe transformation of this concept was achie- ting space reveals itself as a product of social ved by the middle classes. At the beginning of practice and symbolic attributions. And it obvithe modern era, it was an emotionalised, even ously does not lose its relevance. The patterns romanticised war cry against industrialisation. of space-related habitats that have evolved in

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left: BRIDGEPORT above: OAXACA, Mexiko 2009

response to the demands of modernity however undergo a significant change. Regardless of understanding the (quite problematic) term “habitat resp. homeland”, the corresponding space provides a projection area for our dreams, and thus also becomes mobile. Desires, beliefs and rituals make that empty place unique for us, but not to be the only place. It might be exactly here where the skill of professional travellers lies: the ability to reconstruct home, to find and organise niches of privacy. Home, that can be a real tangible place, as well as an imagined locality, a place of relationships with “people who one has chosen”.

But what if one spends most of his free time in hotels, apartments, restaurants, or at the airport?

Are they the opposite of home, or can we make them our own? Professional travellers animate possible non-places by occupying the anonymous,

sterile, always changing rooms with their own rituals. They try to find the balance between two poles by creating a (real or imaginary) balance to get the feel of a continuous and stable local reference. This incessant process of rearrangements is called Place Making. The act of making oneself at home is not linked to real places, but to localities one is striving for to some extent.

This is generated by one’s own tablecloth brought along as well as jogging in the morning or the every evening nightcap before bedtime.

The question now arising is whether travelling is a loss of home or whether home only as a fixed point, as a habitat (homeland), makes travelling possible. Is locality the basic prerequisite for mobility? And is travelling not always travelling back home? If you purely look at the distances covered, the way home makes about half of the whole trip. This mobility would have

above left: LYON, France 2006 above right: TOKIO, Japan 2006 left: DÜSSELDORF, Germany 2007 right: BRÜSSEL, Belgien 2006 right page: NAGOYA, Japan 2006

LOTTO MAGAZIN PLACES OF THE PRESENCE 274–275

been unthinkable before mass mobilisation. Man as a “territorial being”, a term coined by InaMaria Greverus, he finds his identity in a territory granting him security of conduct. Thus for him also a foreign environment (hotel room) may become a life world (home), his own microcosm, his own world.

The disappearance of the place as such did still not occur up to today. This might be so because all human action takes place in real, but also in imaginary spaces, which man occupies with specific values. Real spaces therefore did not lose importance. Rather, they were charged with locality. The dissolution of space we are facing today is rather due to the fact that many spaces cannot be located any more - just think of

telephone or video conferencing. Moving along with this the formation of new spaces is arising, such as social networks generating a new virtual quality when extracted from the space. Thus, man himself can fabricate his feel of locality and even our former static concept of space as such becomes more mobile. Place-specificity is reconfigured.

References: Vonderau, Asta (2005): Das Zuhause und das Motel – Territorium contra Niemandsland. Strategien des place making unter berufsreisenden Experten. In: Ort. Arbeit. Körper. Ethnographie Europäischer Modernen. Edited by Beate Binder, Silke Götsch, Wolfgang Konrad Vanja & Kashuba. Münster / New York / Munich: Waxmann (= 34th Congress of the German Society for Ethnology, Berlin, 2003; Series Museum of European Cultures, Volume 3), pp. 167-174.

NO CHAIR II ARTWORK BY XAVER SEDELMEIER

“I don’t have to take every seat that’s offered to me. There are some seats that are even denied to me.” (Xaver Sedelmeier )

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n the case of the no chair, the evolution of speech and the creation of art come together.

The conventional uses of the chair are barred to us and we are invited to contemplate a traditional object with new communicative and functional uses.

In the current, second version of no chair II (2010), the artist and designer Xaver Sedelmeier radicalises his “No” to taking a seat. He has replaced the filigree struts of the no chair l (2005) with fine steel struts, so increasing the slight movement, thus lending it the impression of weightlessness. The functional chair becomes an outline without surfaces, the visualised concept of a chair.

Like a figure, the LOTTO MAGAZIN no chair II and the PLACES OF THE PRESENCE shadow it casts, 276–277 seize the room.

LOTTO MAGAZIN A GREGARIOUS ANIMAL 278–15

LANDSCAPES FOR THE PEOPLE PHOTOGRAPHY BY MARK LYON left: DR. CARPENTER D.M.D., Exam Room, Dental Implants, 2010 right: AMERICAN ALARM CO., Lower Level, Lobby, 2009

OCEAN OF DARKNESS (ABSTRACT OF THE VOICE-OVER TEXT FROM THE 3D MOVIE OCEAN OF DARKNESS, 2009) TEXT BY KOEN HAUSER

The experience of this world is determined by shape and form. So in this darkness, survival depends on sight. The appearance of this “dweller of the deep” is primarily determined by its head. It is dominated by two huge eyes, capable t is said that our unconscious claims sixty per- of detecting minute quantities of light. With its cent of our mind. Home to our inner thoughts, spirited eyes, it rules its kingdom, always on the yet largely unknown. We all need to explore lookout for visual stimuli. this drowned museum, this graveyard of repre(…) As our depth exceeds a thousand metsentations. Journey to the depths of our inner res, total blackness surrounds us. (…) Life beuniverse, an alien world never reveiled before… comes ever more sparse. It’s a dark, dangerous Thoughts live in the darkness, JOURNEY TO THE DEPTHS OF world. Our thoughts aslike savage animals, and new OUR INNER UNIVERSE, AN ALIEN sume monstrous forms. insights are discovered almost WORLD NEVER REVEILED BEFORE... Invisible in the dark, every dive. Let’s embark on a journey into the they grope blindly for their prey. Us. abyss…

Desperate inhabitants of this metaphorical We submerge just below the surface. God’s palace, these life forms twist in eternally restless chosen forms float between illusory rags at the shapes. Did anything other than shape and form mercy of planetary currents. With a natural ever exist? elegance often found in those unaware of their (…) In the world of outward show, only thobeauty, these fish celebrate their colours in this se who play the part survive. secret garden. Does this façade disguise a deeper We will now reach the bottom of this watery truth? A metaphysical interior that hides behind cathedral, filled with memorabilia of our imagia richly decorated appearance? nation. Here lives the most fascinating and horWe continue our journey. Leaving these trea- rifying creature of them all: the ego. While its sure keepers of our inner depths, we head for the servants prepare for a new round of destiny, it twilight zone. We enter a strange, gloomy world. slowly descends to the very bottom of our minds, These jellyfish continuously expand and con- in the full realisation of what is yet to come…. tract. In doing so, they shape the space around Physicality, shape, form, matter – it’s all we them – just as the sea uses their forms to experi- have. And maybe appearance is nothing but an ence its universality. But touched by their sheer illusion, (…) a hopeless imitation of a world we beauty we risk being distracted from the budding cannot know…. idea that they are merely shapes and forms.

The ego is going to perform it’s secret ritual, An idea that slowly grabs us. With its long in which it will indulge in a phenomenological tentacles it reaches our inner beliefs, finding a cycle. Destined to celebrate the world of an unplace to nest. Like squids that are among the most limited variety of shapes and form. Destined to advanced invertebrates. This one will never en- suffer because physicality will never meet the counter a hard surface in its life, and its body is wholeness which it longs for. not as robust as those of its shallow water couIt is our destiny to suffer sins. This makes it easier to sneak up unnoticed…

It is our destiny to celebrate.

I

right: ANGEL NAILS, Portrait, 2009 next page: SUNY NEW PALTZ, Campus Auxiliary Services, Inc., 2008

LOTTO MAGAZIN A GREGARIOUS ANIMAL 282–15

above: DR. WILK D.D.S., Exam Room 1, Instrument Tray, 2010 right: WILLIAMSON HARDWARE, Inc., Stove Shoppe, 2008

LOTTO MAGAZIN PLACES OF THE PRESENCE 284–285

LOTTO MAGAZIN A GREGARIOUS ANIMAL 286–15

SLEEP PROTOCOL ARTWORK BY SVEN JOHNE

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ohneâ&#x20AC;&#x2122;s background research and analysis of images and media coverage intersperse with own documentation and fictive new editing of the compiled material thus creating an atmosphere in his works that sets questions of truth, authenticity and evidence to the background but challenges to deal with the actual current social status quo.

BROKEN MANUAL PHOTOGRAPHY BY ALEC SOTH

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reated over four years (2006–2010) Alec Soth’s “Broken Manual” represents a significant departure from his previous works. Soth investigates the places of retreat to escape civilization. Soth photographs monks, survivalists, hermits and runaways, but this isn’t a coventional documentary on life “off the grid”. Instead, Soth has created an underground instruction manual for those looking to escape.

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LOTTO MAGAZIN PLACES OF THE PRESENCE 290–291

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of roads and of paths who end final

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BEUKELSBLAUW YELLOW STREET ARTWORK BY FLORENTIJN HOFMAN

GENIUS LOCI TALKING PLACES WITH FABIO NOVEMBRE ONE OF THE MOST INFLUENTIAL EUROPEAN DESIGNERS CONSIDERS THE PLACE OF BIRTH AND THE LOCATION OF WORK THE TWO PREDOMINATING SOURCES OF CREATIVE IMPULSE. LOTTO MAGAZIN MET FABIO NOVEMBRE IN MILAN WHERE HE SPOKE ABOUT THE “SPIRIT OF A PLACE” AND WHY GIRLS SHOULD NOT DATE BOYS WHO DON’T EAT LOCAL FOOD.

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Lotto Magazin: Hi Fabio, as globalization is moving on and the Internet is our most important means of communication, do we need places that are part of our identity?

Fabio Novembre: This is probably one of the most interesting experiences when we talk about

the “genius loci”. You, myself, and a lot of other people that we know are staying in hotel rooms without knowing where we are. It seems not to matter if we are in Beijing, in Berlin or in New York or in Sao Paulo. So these hotel rooms become places almost without any connection to the city they are located in. To me, that’s not true!

My personal approach is to integrate the location where you stay and work to benefit from the richness of each place’s culture and influences. As an architect I have designed two hotels.

One in Sardinia, the other in Florence. Both were telling stories about the sand and the sunny scenes in Sardinia and in Florence. If possible, I really would have loved to integrate all of Florence’s treasures in the hotel rooms. I strongly believe that you need to root in the ground beneath your feet. If you don’t cultivate strong

local roots, you cannot grow strong branches.

If we don’t, we lose the cultural differences and local specifics of our ideas and creations. Everything would become indifferent.

It is common to say that with the increasing influence of the Internet you will be able to work wherever you are. The conditions are the same everywhere...

It is true that you can work wherever you are. I love the Internet, talking to you as a fortyfive year old man. I realised that the Internet is one of the most beautiful inventions of mankind. But let me tell you a story: As a child I was raised to find answers in the local libraries.

When I had to research, I had to ask for a book and it determined your level of knowledge whether this book was available or not. So in this

context, the Internet is amazing. You can check on everything you need to know. But of course we are made of flesh and blood. We cannot just switch ourselves on and off like the screen of a computer. We are three-dimensioned. And we cannot erase this fact. Our spatial figure is inside another space, which has its coordinates in the real world. And we need to define and design the spaces that we are living in.

After living in the U.S., a country which is characterized by vast and extensive availability of space, was it always clear to you that you’d come back to Italy and even Milan where we are now?

No, not at all. And even now it’s not certain if I’ll stay in Milan. But I feel strongly bound to the Italian heritage. I accept my roots, but in the same time, I regard myself as a citizen of the

world. And I love differences and to approach different cultures. In my opinion this is no contradiction. Years ago, I had a friend who was a half-breed, half Indian, half Italian. She was very beautiful and was very successfully working as a model. Once she said: “I meet many people everyday. And I meet a lot of interesting men, too. So it is important for me to develop a guideline for my social behaviour. My idea came naturally: I don’t date boys, that don’t eat local food.”

That’s funny!

Yes, very impressing. So we started to talk about food in different LOTTO MAGAZIN cultures.

ActuPLACES OF THE PRESENCE ally, my point is 298–299 that only by ea-

ting local food you are able to understand the culture. There are so many identifying characteristics in local specialities. You can’t be fond of Italy without loving pasta.

Mmh, I’m getting hungry! Please tell me what you especially like about Milan.

Something that is very special and beautiful about Milan is its clearly arranged dimension. You can easily orientate, even without knowing the city, you’ll never get lost. Think about the people living in Milan. In effect, it’s only one million people, but they are vitally moving all the time. That makes Milan a very fluid and lively city. People are walking, cycling, using the tram and driving their cars.

I could never live in cities like Los Angeles

where you need to be driving for hours to meet your friends. That’s crazy. And I don’t want to waste my time inside metallic vehicles. That makes the quality of Milan: You can walk almost any distance or take the bicycle. I really appreciate the concentration of life, living and talent in Milan.

I understand. Interestingly you were born in Leche, a small village in the very South of Italy, before moving to New York and Milan.

Yes, growing up in a tiny village influenced my identity and of course my work a great deal.

The place, the nature as well as the specific topography and geology determined my identity. For example, when I was a kid, instead of collecting soccer cards, I was collecting different kinds of

sand. This seemed just natural to me.

Also the cultural life in the small village enormously influenced the way I think and work. Leche is a place, where there are more churches than anywhere else in the world. Itâ&#x20AC;&#x2122;s like you turned your head and there were at least two churches rising. So of course I often went to church. The South of Italy is strongly determined by the Catholic Church. The sacral and iconic Christian imagery completely filled my head. The aesthetics of religious art are very powerful and follow the basic principles of perceived beauty. So you could say that local religious imagery is still feeding my vision of art and design. For me, this phenomenon might be an impact of the â&#x20AC;&#x153;genius lociâ&#x20AC;? in its most uncorrupted sense ...

NO MAN'S LAND IDEA & CONCEPT BY MISHKA HENNER

above: CAMINO DE SAN ANTONIO, Castellon de la Plana, Spain right: CARRETERA DE FORTUNA, Murcia, Spain

N

o Man's Land explores the margins of our urban and rural European environment as experienced by what appear to be women soliciting sex, all captured

by Google Street View cameras. Locations were sourced from online communities where men share information on the whereabouts of sex workers. The Street View Project heralds a new age of street-level cartography that offers a vast, regularly updated archive waiting to be mined by documentarians seeking to make sense of our contemporary condition. Significantly, it combines three key features of our age: The dominance of the car and the road, the availability of the internet and its search engines, and the ubiquity of cameras and surveillance technologies.

LOTTO MAGAZIN PLACES OF THE PRESENCE 300â&#x20AC;&#x201C;301

VIA RIGOSA, Bologna, Emilia-Romagna, Italy

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CAMÍ DEL CAMINÀS, Nules, Spain

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itâ&#x20AC;&#x2122;s cheap on the street

above: ANDRIA BARLETTA, Andria-Trani, Italy left:CARRETERA DE RUBÍ, Terrassa, Spain

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DAS AMT ARTWORK BY CEDRIC BOMFORD PHOTOGRAPHY BY TREVOR GOOD & CEDRIC BOMFORD

C

haracterized by the re-use of found dedicated to fascism, socialism, the Cold War, construction material, Cedric Bomford’s and contemporary capitalism amidst the remains installation works over the past few years of two world wars. Among the “dustbins” of hishave a necessarily tactile relation to their various tory, Berlin is a trashcan par excellence. locations. The weathered patina and particular proportions of the found elements always Although in recent years Berlin’s post-wall ensure a hybrid, provisionary structure implicit profile as a euphoric “empty centre” checkered with local narratives of development. But in with ruins and wastelands yet brimming with the context of Berlin, Bomford’s strategy of potential has been curtailed by (often banal) re-appropriation achieves AMONG THE “DUSTBINS” OF development, the anarchic another level of complexity HISTORY, BERLIN IS A TRASHCAN situation in the 1990s gave in relation to the work of a PAR EXCELLENCE. rise to a unique generation particular generation of artists who use found or of artists. This period was characterized by vast commonplace material to integrate sculpture and amounts of abandoned building space in East architecture with a surprising array of intentions. Berlin available to be rented very cheaply or had for free, allowing numerous opportunities for Das Amt (2010), constructed in Berlin, is built the transformation of existing space for living, of indigenous material scavenged from various working, and exhibiting in an experimental way. places in the city such as temporary exhibitions, It was this unprecedented phase of cultural and new building sites, and even pre-war buildings civic reconstruction that provided a reciprocal undergoing renovation. By using the surplus context for a variety of artists who focused on the materials of the city, urban space is recognized medium of installation to explore the aesthetics as a shape-shifting entity, a changing field of and politics of space in diverse ways. Bomford’s some­times contiguous and sometimes connected strategy of re-use is clearly sympathetic with a processes and networks without a fixed identity. number of techniques and approaches that arose The city of Berlin is especially prone to this pro- at this time. visory cut-and-paste mentality having survived the consequences of its traumatic ideological It is this hierarchical relation established by phylegacy as a brutal superimposition of structures sical displacement that the work of Bomford

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constructs for the visitor. In Das Amt, this rela- between conception and fulfilment is estranged tionship is immediately established by the mir- by hands-on engagement and material interacrored glass exterior of the pavilion structure that tion. While this prolongment could be read in initiates the installation. It is almost like facing a psychological terms as a definition of desire as a camera, but, as in Bomford’s previous installati- continuously detaching object, it is also tempting ons, once one enters the structure, a spatial cho- to read this tactic of displacement in the context reography of vantage points of Bomford’s experience as THE SPACE BETWEEN CONCEPTION allows a continuous narratian artist in the shadow of AND FULFILMENT IS ESTRANGED ve of privileged and vulneVancouver School photoBY HANDS-ON ENGAGEMENT rable positions. Bomford’s conceptualism. By using AND MATERIAL INTERACTION. found material aesthetic of “displacement” is pa- found lumber as an amateur carpenter, Bomford ralleled by the displacement of vantage points in not only criticises the “artist as technical master” his work, but there is at least one other important but also probes the means of production, not in strategy of displacement that characterizes his a mass media context like the photo-conceptuawork. Because Bomford uses found material and lists, but in a place-based situation of real space his building method is through trial and error, his and activity. In the end, it is the unpredictable environments have no fixed plans and no deter- nature of the found material that provides an immined formal resolution. This process not only provised, raw energy and functions as a poetic means that the structures are potentially endless obstruction to playfully stretch the distance betbut it also creates a particular tension between so- ween concept and form, effectively collapsing called form and content. It is only Bomford’s and such categories. his collaborators’ and assistants’ manual labour within an allotted time frame that establishes the overall composition of his, usually labyrinthine, works.

It is this process-based, almost performative strategy that allows Bomford’s installations to become critical sites of displacement. The space

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WOVEN TAPESTRY ARTWORK BY ERIN M. RILEY

A1 TEXT BY RAINER BRENNER TONS OF TARMAC, 41 YEARS TIME FOR COMPLETION, A LENGTH OF ALMOST 400 KILOMETRES AND 5,500 HOURS OF TRAFFIC JAM PER YEAR, 9 CANTONS, 18 ROADHOUSES (MULTIPLIED BY TWO), 40 FRANCS PER TAX DISC, AN UNCOUNTABLE AMOUNT OF TRAFFIC SIGNS AND VARIOUS CONSTRUCTION SITES... BUT HOW DOES IT ACTUALLY FEEL TO BE ON THIS STRAIGHT LINE? FOR SEVERAL DAYS REPORTER RAINER BRENNER WAS ON THE ROAD ON ONE OF SWITZERLAND’S MOST IMPORTANT FREEWAYS AND KEPT THE MINUTES. A PORTRAIT.

A

Sunday evening in Zurich, in front of some Starbucks store. Two metres above our roof a blue table is shining forth, the white pointing arrows directing us to Winterthur.

The roads are quiet. I glide onto the capuccinocoloured passenger seat and let Dani explain his spine rest to me, a device he bought exclusively for our little trip.

Dani’s the driver, that’s for sure. In fact, the driver of a greenish Mercedes 190 E with a crooked star on the bonnet, 1989 model. The speedo charts up to 240. But Dani rarely drives this fast. He shifts the gear lever into “D” and accelerates. I look up at the crescent moon and think of the astronaut who claimed to have seen a human construction from up there. It was a lie.

After a short distance the highway sign. “1” is displayed on a little red plate. We're there.

stare into their coffee cups. Next to us, all trays are polished off the lot. What didn’t fit into the stomach has been taken away in plastic boxes.

Going to the toilet costs one franc, but the investment pays off: behind the turnstile I dive into an underwater world of sharks, coralls and whale songs. Only above the urinal the theme changes with portaits of people in bad resolution. Someone painted Hitler moustaches on the male faces and dicks on the female ones. As I leave the restaurant a little boy from “Picky’s World” waves to me while banging his head against the wall. We head on.

Buying The road to Winterthur has many scars, every few metres changes the colour of the background and another overall modernisation is announced on signs. There isn`t a lot of traffic on the street. On this Sunday evening we do come up not against a single truck but a lot of fast cars with foreign number plates.

We listen to country music on radio DRS. In a deep voice the presenter announces songs about love and gasoline. The speedometer is exactly on 100, when the road changes into a fourline motorway. Then the news: ‹The car showroom in Geneva closes.› Very important topic this year: alternative drive systems.

Again and again we argue whether Coop (me!) or Migros (Dani!) was the better chain of shops. And also on the A1, they wage a relentless Hunger fight: Migrolino against Pronto, Migrol against First Stop: Kemptthal. It smells of cream sauce Coop, Cumulus against bonus points. No wonand petrol, in the gasoline station the first Easter der, because who ever stops on the A1 doesn`t bunnies with golden bows around their necks do so without pulling out his wallet. are already up for sale. Here, energy drinks are Second Stop – Thurau. Again, an offer: Fuel sold in half litre cans next to air refreshers in more than 30 litres gasoline and get a free cofthe form of race rims or cut flowers, all lavishly fee at the bar. Hidden behind gunite pillars many wrapped. At the cash register we are asked if we more things allure apart from gasoline and cofare collecting points. “Eco-points”. If you fill fee: bamboo socks, souvenirs, kitty litter and a up at BP often enough you can look forward to wide range of pornographic material. Mrs. G. GOING TO THE TOILET COSTS ONE FRANC, interesting offers like has been working here BUT THE INVESTMENT PAYS OFF: an eco-pan set. In the for 15 years. “On both BEHIND THE TURNSTILE I DIVE INTO AN restaurant next-door sides”, notabene. She UNDERWATER WORLD OF SHARKS, they are also placing even recalls a robbery, CORALLS AND WHALE SONGS. emphasis on Mother but this was a long time Nature. Flyers are printed on obviously recyc- ago. Not the story with the “chocolate bananas” led paper; at the salad buffet health-conscious however, a young woman had hidden within her people drown their vegetables in litres of French baby’s nappies. The underpass to the other side dressing. “That stuffs”, Nicole says when han- looks creepy. I can’t imagine that the nice Mrs. ding over our noodles. She’s right. While we are G. likes to descend there. We head on. eating we watch three (German) children having fun in “Picky’s World”. The kids’ corner looks Eastern Border like a badly tidied nursery. The kids chase each In the glove box I search for a map of Switzerother loudly on the grey carpet, while the parents land. At the very bottom, underneath the Ger-

man, French and Moroccan, I finally find one.

However, in this one the A1 is still named N1.

This was not changed until the standardisation in favour of international abbreviations 15 years ago. Since then HIDDEN BEHIND this road emboGUNITE PILLARS MANY dies everything MORE THINGS ALLURE Switzerland wiAPART FROM GASOLINE shes to be: the A1 AND COFFEE: BAMBOO is cosmopolitan, SOCKS, SOUVENIRS, KITTY straight(forward) LITTER AND A WIDE RANGE and yet restraiOF PORNOGRAPHIC ned. Besides, it’s MATERIAL. expensive, worth several billions, but at some point maybe even lucrative.

Looking outside, I realise that the speed makes me feel quite easy. Because no matter what passes by, it is big and long and far away. Behind St. Gallen the end is in sight. The closer we get to the border, the unclearer becomes Polo Hofer’s voice who introduces his favourite songs on the radio accompanied by coughing and croaking. Without a lot of fuss the E 43 takes the A1 traffic, a smooth transition. Next to the border two brothels are glowing, it starts to rain. We manage the first stop-and-search operation without any difficulties: - What are you doing here?

- Taking photos.

- On the freeway?

- This is not the freeway.

- But the road that leads to it. Go on.

First U-Turn We have breakfast at the “Rank”. This place is located at the border of St. Margrethen and was labelled as a hopeless case by restaurant testers.

The transpiring salami on my roll is probably from the meat factory across the street. Next door a closed club advertises a “tuning-party” with flyers hung-up on the traffic light. Now the distance indication signs are counting down: “km 396,1” means 99 kilometres to Zurich.

Then there is this small hill on the Sulzberg.

Located on the hill is a log cabin where George has been frying hamburgers, serving coffee and lending an ear. For four years.

“Decelerate, head into the service area and accelerate again!”

winter he sells chestnuts. Actually he wanted to build his cabin next to the lake. But there was no space. No big deal for George. He likes the A1.

Since “you are right in the middle of the world here”.

On the wall there are paintings of American highways and pharaos, on George´s belt flaunts an immense buckle in the form of a highway plate and in his ear glitters a Yin-Yang-stud.

In Appenzell a lot of nature passes by, it smells of slurry. The landscape appears to be wet al­ though it hasn’t rained for days. Afterwards follows periphery. On the radio you can listen to a German station: It reports on German regional elections, I change the station.

LOTTO MAGAZIN In the evening PLACES OF THE PRESENCE George turns into 316–317 a naturopath. In

Thurau again. Refueling again. Next to us a man from Zurich worms himself out of his Corvette. It makes 350, he says and eyes me critically

when I sneak around his car. We fill up 62.95 litres and pay 114.57 francs. This is 1.82 francs per litre, as the display reveals. Here everything looks exactly the same like in the north: the same natural healing stones like on the other side, the same gambling machines, bamboo socks and porn. We head on.

Take off In the tunnels I feel like in a video game.

Based on the speed information on the display and my sweep hand I try to figure out how long the white medial strips might be. I have no idea. In Kemptthal Dani shows me how to take off: “Reduce the speed, into the service area and then accelerate again!” Though it

doesn’t quite work out I understand the point of his exercise.

Above the fields birds are circling, a great tit is flapping over the bonnet. Someone hung up a bird box on a noise barrier. The Bruttisell interchange is next. Jumbo, Aldi, Ikea and, for once, no traffic jam.

The Glatt Center’s multi-storey car park seems like one of those buildings in the news where rebels entrench themselves: small ports, sandcoloured facade, flat roof. From Affoltern on there are first signs of a traffic jam. I remember that traffic jams have been subject to psychological research. But actually it’s a quite simple phenomenon: Everybody heads into the same

direction at the same time and someone makes a mistake. Gubris channel, Limmatal interchange, we enter another road and leave Zurich behind us. Welcome to Aargau.

Refuel Würenlos is the king of all service areas! It used to be flesh-coloured, but today the building right above the A1 shines in elegant blue. The “food

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concourse” is 170 footsteps long. It once was the epitome of the Mövenpick-chain, which has been retreating more and more over the years.

But on the freeway they still set the pace along with Marché and Cindy’s. In the middle of the building there is a Shiatsu massage chair. Ten minutes for five francs. On the weekend you come here for shopping. You can buy jeans, watches, DVDs and T-shirts with funny slogans like: “Saturday, Sunday, shitty day, shitty day, shitty day ...”

There even is an erotic store, right in front of the toilet facilities. The couples walking past it

pinch each other and whisper furtively. Wearing track pants, working clothes and leather jackets people flock the block to return loaded with plastic bags and cans in their hands. Twenty metres away from the motorway restaurant a forest starts. Someone put red ribbons on the branches.

I follow the trace up to a path. I look about, open my trousers and urinate on a tree trunk. That saves me a franc. When I walk back to the car, I

enormous rubble heap. With a finger-like backhoe the layers were broken up, removed and then piled up. Behind it a company called Instamak lined up black buckets filled with reparation tarmac. There is an eerie silence. The road looks like a disembowelled animal. Even under the big bridge, that we will cross later men are at work.

Little manikins with yellow machines bulldoze away the soil around the massive cement pillars, which loom thirty metres over Othmarsingen.

On one is written “One extra bullet for Nazis”, on another “Burton Fun”. Then we get lost. We are cruising through industrial areas, passing by companys with names I’ve never heard before; we search for a way back on the freeway.

see an ad: the service area wants to make new friends on facebook. We head on.

Complete overhaul After Würenlos there is the first air pollution measure station. It says “moderate”. That is in the yellow zone and thus on the safe side. After Barreg Tunnel another construction site. Somewhere there’s always something to do. And where there is construction, it gets colourful: orange lanes, red and yellow signs, neon-coloured men, standing around fuming holes. Currently there are ten big construction sites. We drive past an

“Here you are in the middle of the world” We are passing white guide posts with reflecting heads by Beilharz, made in Germany. They come in three different sizes and with different mounting systems. Behind them, crash barriers are solidly dug into the ground. Loose nuts and bolts lie around. Perhaps as substitutes, perhaps due to negligence. I sketch the different shapes and colours of noise barriers in my notebook: convex and linear forms, stone, plastic, green, yellow, white and transparent, metallic and plexiglass... Some of them even have grown together with the hedges.

The hazardous waste deposit in Kölliken reminds me of a dockyard. Or an airship hangar. The noonday is peaceful and quiet and the streets are deserted. However, boredom hasn’t taken hold yet. Driving on the fast lane I observe people in their cars. They eat, talk on the phone, yawn or stare straight ahead. And when they realise that I watch them, they give me a dirty look.

Only briefly, but meant very seriously. In the privacy of your car you join in and leave each other alone. You look ahead. “Are there any human encounters on the A1 at all?” Dani asks. Maybe a joke here and there, a quick salute, a little flir-

ting over the counter. Then you’re back in your vehicle. Not lonely, but undisturbed.

Middle From Rothrist on it’s getting bumpy.166 kilometres separate us from Lausanne. Another erotic store, another bird box. Followed by traditional companies: Migros, Jura, Axpo. Behind them nothing but the horizon. At least up to the snowcapped mountain peaks. Until Bern I’m counting trailers (32). As we drive through the capital the kilometre information jumps from “0,1” to “165” in the middle of the street. We wonder what the graffiti “capital journey” on the bridge above us is supposed to mean. Then we discover the shopping centre Westside. We get excited like little kids.

Welschland We pass the language border and realise that there is a lot of waste on the roadside. I wonder if the hygiene standards in French-speaking Switzerland are lower than in German Switzerland and feel ashamed for this thought in the same moment. On the radio a sexy French voice reports on another damaged nuclear reactor in Japan. Everything sounds better here.

Even the service areas and the tunnels... The first really great view: Neuenburger Lake (Neuchâtel). Right behind the tunnel it’s at our feet. From there on I gaze out of the window until I get sick from staring at the past rolling wheel caps, kerbs and rims. The villages have become fewer since Fribourg. Only the exit signs and lights from distant hills suggest that people are living beyond the barriers. It has again become dark in the car, the noises get louder.

Western Border 540 kilometres until Paris, but only five to the border. I get a strange feeling, but nothing

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happens. The change of the sign colour is announced. We spend midnight at the border and have a cup of coffee at the exchange office. I put (Swiss) centimes into the moneychanger and receive (Euro) cents for change. Probably a bad deal. We look across the border, where everything fades into pastels and stroll for a while. Nobody follows us, nothing happens.

To me the border feels different than the many

Second U-Turn The asphalt before Lausanne is brighter than anywhere else. The A1 appears shabby, the medial strips frazzle on both sides, the signs are faded. A bit of patina, but charming. In between the middle purlins slim bushes are planted, but on the right and left side of the road you see perfect-picture farming: diligently grazing animals with shiny coat, countrymen with turned-up sleeves. We follow the truck in front of us to a service area. I run across the creaky wooden slats of the bridge to the other side, the evil side with Burger King and Tamoil. I turn back to Marchè and Esso and notice that the bridge is not monitored.

Through the hole over the banister you could throw a heavy object on the road without anyone noticing it. “Plenty of freedom” I think and move on quickly.

Bathroom (Men) This is not one of the “Clean Toilets”, but none of the really bad either. You can clean the toilet seat with disinfectant. I take a seat and listen to the other men. Sounds of clothes and skin, smacking and coughing leak through thin dividers.

Then a short sigh and a zipper. These are the same men who are now standing outside staring over the road with a blank expression, everyone gazing into another direction.

They appear like bagmen, wearing light functional clothes, rumpled jackets. They carry about their paunches and mobile phone holders beneath. The A1 is a man’s world. A sparrow lost its way and is now trapped in the restaurant. It must have come through the escalator shaft. Past Hector who is clearing the tables here. Thoroughly and with a content smile he cleans the tabletops. He shows us a triangular wooden rack he has filled with different fruits so that a striped pattern evolved. On the bottom oranges, above green apples and so on. “Decorative, n’est-ce pas?” Hector smiles. He is a handsome man, still is.

times before, because we’re not on our way home and we’re not going on holiday either.

We only drive back and forth. The reflectors shine like doe eyes through the scarp. Ten kilometres until Geneva and again I missed what is written on the welcome sign: “Geneve – un lieu de…”

Wrong-way Driver Aargau again. Traffic information at 14:32. There is a wrong-way driver on the A1. “Hebäd üch Sorg!” a Bernese voice warns on the radio. We head on.

Outside the wind blows. We are tired. Dani bought sweets and a red bull. He thinks of the ocean, wants to rest. Just lie on the beach, and then fall asleep somewhere at the Atlantic. Where the sunloungers are still chained to the parasols but the sand is already warm. From time to time the ocean blows sand on his wet bath towel.

But he would fall asleep nonetheless. We drive faster than usual.

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LOTTO MAGAZIN A GREGARIOUS ANIMAL 324–15

CLOUD PROJECTIONS PHOTOGRAPHY BY BLAKE GORDON

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UN PHOTOGRAPHY & TEXT

BY ALEXANDER STEHLE

T

he United Nations are meant to be a place where all places in the world are at home.

A lobby and a voice on the authority of a country. A country defines itself through the outer shell, a line, thus an inner room, emotionally referred to as home, which is in turn only an expanded place. One describes the line as border, which includes a political system or a conflict area. That’s how it goes.

you’re safe from the thu LOTTO MAGAZIN PLACES OF THE PRESENCE 328–329

nder

Woven carpets inside the UN Building left: DAG HAMMARSKJOLD, Swede, UN General Secretary from 1953–1961. Passed away on the 18th of September, 1961 at an unexplained plane crash in the Congo. Posthumously received the Nobel Peace Prize. right: KOFI ANNAN, Ghanaian, UN General Secretary from 1997–2006.

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VITREOUS OPACITY VS. NERVOUS SYSTEM DO EYE FLOATERS ARISE FROM THE VISUAL NERVOUS SYSTEM? TEXT BY FLOCO TAUSIN FOR CENTURIES, SCHOLARS HAVE FOUND DIFFERENT EXPLANATIONS FOR EYE FLOATERS, THE MOBILE, SCATTERED AND TRANSPARENT SPHERES AND STRINGS IN OUR VISUAL FIELD. EARLY ON, THE ORIGIN WAS THOUGHT TO BE IN THE EYE AND THE PHENOMENON WAS CONSIDERED A DISORDER OR DEGENERATION SOMEWHERE BETWEEN PUPIL AND RETINA (PLANGE 1990). TODAY, EYE FLOATERS ARE BELIEVED TO BE AN OPACITY OF THE VITREOUS. HOWEVER, CAREFUL OBSERVATION OF FLOATERS REVEALS REGULAR STRUCTURES THAT CALL THE DEGENERATION THESIS INTO QUESTION. THESE STRUCTURES STRIKINGLY RESEMBLE THE MORPHOLOGICAL AND FUNCTIONAL STRUCTURES OF RECEPTIVE FIELDS OF THE VISUAL NERVOUS SYSTEM. THUS THE HYPOTHESIS OF THIS ARTICLE: SO-CALLED “IDIOPATHIC” (HARMLESS) EYE FLOATERS ARE A VISIBLE EXPRESSION OF NEURONAL PROCESSES.

I

n ophthalmology, “eye floaters” is a collective term for vitreous opacities which are attributed to different causes. In most cases, the phenomenon is considered a nonpathological (idiopathic) age-related clouding of the vitreous body. This wide-spread symptom occurs due to liquefaction (synchysis) and the collapse of the collagen-hyaluronic structure of the vitreous (syneresis), which causes at some stage the detachment of the vitreous from the retina (posterior vitreous detachment) (Sendrowski 2010). In daylight, degenerated vitreous structures which are clumped together cast shadows on the retina and become visible in the field of vision. Supposedly, this is what we see when we are looking at our mobile, scattered and transparent dots and strings.

Fig. 2: The two contrasting types of floater spheres.

Source: FT.

Fig. 1: Floaters as vitreous opacities. Source: www.flickr.com/photos/andrewcoulterenright/4106224/

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Floaters as receptive fields In-depth observations of floaters reveal distinctive structures that are not considered and explained by ophthalmology (cf. Tausin 2011).

Floater spheres are circular and concentric. They contain, clearly distinguishably, a core and a surround, viz. they are polar. The polarity is joined by a dualism, for there are two types of dots: those with bright surround and dark core, and those with dark surround and bright core. So we can speak of a dualistic-polar principle in floaters.

In my opinion, this ophthalmological description of the spheres and strings as a “disorder” or “vitreous opacity” is a myth, based on too much theorizing and only superficial observation of the phenomenon. I suggest that floaters reflect a dualistic-polar organizing principle, which has, to some individuals, cultural or spiritual significance, but which also resembles the properties of receptive fields, an important aspect of the visual nervous system. To illustrate this, I firstly present important distinctive properties of floaters that reveal through close observation, and then look for structural similarities in the neurology of vision. As an underlying theory, I assume that any phenomenal order in the perceptual experience corresponds with dynamic neurological organizing processes in the brain. This idea was originally developed as “isomorphism” by Gestalt psychologists (Köhler 1938; cf. Lehar 2004) and is – with regard to entoptic phenomena (cf. Trick 2007) – further reinforced by recent physiological research of entoptics, suggesting that these phenomena reflect the spatial organization of the neuronal structures of retina and cortex (Kent 2010; Bressloff et al. 2002; Cowan/Ermentrout 1979).

Morphologically, this principle is reflected in the visual nervous system. Nerve cells, or neurons, of the retina, the visual pathway and the visual cortices in the brain are also organized according to a dualistic-polar principle: the so-called receptive field (Freenlee/Tse 2008; Gareis/Lang 2007; Park 2007; Schiefer 2007; Witkovsky 2007; Goebel et al. 2004; Quillen/Barber 2002; Flores-Herr 2001; Greenstein/Greenstein 2000; cf. Franze 2007). To understand what receptive fields are, let’s look at the way of the light in the visual pathway: Light stimuli are first received by the light-sensitive receptors (retinal cones and rods) and forwarded through different layers of neurons: Cones and rods forward the stimuli to bipolar cells; the latter transmit the information to ganglion cells; from there, the impulses are forwarded through the neurites to the different neurons in the visual cortices in the brain.

Fig. 3: Simple diagram of the organization of the retina. Source: http://selflearningvisionsystem.blogspot. com/2009/07/httpwebvision.html (9.8.11)

Bipolar, ganglion and the cortical neurons receive their light stimuli from their receptive field, a defined area in the visual field. For example, a bipolar cell answers to stimuli from cones and rods that belong to its receptive field; in turn, it forwards the stimulus to the ganglion cell to which receptive field it belongs. These receptive fields are circular concentric fields that are characterized by a center and a surround. Therefore, the full technical term is “center-surround antagonistic receptive field” (CSARF). There are two types of neurons that can be distinguished according to the function of their receptive fields: those that respond to light on their center (on-center) and those that respond to the illumination of their surround (on-periphery or off-center). Stimulating photoreceptors in the center of a receptive field of an on-center bipolar cell excites the membrane of that bipolar cell (depolarization); the cell transmits this stimulus to the appropriate on-ganglion cell which likewise increases the discharge rate (action potentials per unit time). The same on-bipolar cell is inhibited (hyperpolarization) if its surround is illuminated, i.e. its discharge rate decreases. The off-center bipolar cell behaves contrary: Light on the center decreases the discharge rate; light on the surround increases it.

Fig. 4: On center and off center retinal ganglion cells respond oppositely to light in the center and surround of their receptive fields. A strong response means high frequency firing, a weak response is firing at a low frequency, and no response means no action potential is fired. Source: http://psychology.wikia.com/wiki/Visual_receptive_fields (9.8.11)

Both bipolar cells and ganglion cells receive their inputs not only from light sensitive receptors (vertical pathway) but also laterally from amacrine and horizontal cells (horizontal pathway, cf.

with the visual field. Many cognitive scientists, on the other hand, think that there are specific neurons in the cortex – in that case the visual cortex – that represent the neuronal correlate of consciousness (Goebel et al. 2004; Crick/Koch 1999). Contrary to this, I assume that visual awareness can take place in all of the neuronal From numerous neuronal responses to single layers of the visual pathway, from the retina to scattered floaters: The consciousness princip- the higher layers of the visual cortex. I refer to the finding that simple visual forms correspond le Both the receptive fields and the floater spheres to earlier processing stages (retina, lower cortiare organized by the same dualistic-polar prin- cal layers) while more complex forms are exciple. This indicates the possibility that idiopa- tensively processed in higher layers of the optic thic floaters are not a “disorder” in the vitreous center (cf. Kent 2010; Goebel et al. 2004; Greenbody, as advocated by modern ophthalmology, stein/Greenstein 2000). Therefore, I suggest that but an effect of the nervous system’s visual light the visual experience of one and the same set of processing. The question is, how potent is that stimuli differs in terms of visual complexity and model in explaining further important and dis- integration, depending on what level of neuronal tinctive characteristics of floaters, as observed processing visual awareness is aroused. Floaters, then, may be understood as the subjective visual and described by the author (Tausin 2011)?

The most obvious question is how it comes realization of neuronal stimuli on an early (e.g. that we actually see receptive fields. To answer retinal, bipolar layer) stage of processing. The that, let’s have a look at the studies of mathe- stimuli, canalized through receptive fields, are maticians Bressloff et al. 2002 and Cowan/Er- not yet processed to complex images, but transmentrout 1979 (cf. Meyers-Riggs 2011). They mit relatively simple and isolated properties IF THERE IS AN ABUNDANCE OF such as shape and color showed that entoptic patRECEPTIVE FIELDS IN THE VISUAL contrasts – the properties terns like phosphenes or NERVOUS SYSTEM, WHY ARE WE of receptive fields. form constants (Klüver AWARE OF JUST A FEW PROJECTED The question, then, 1966) arise from neuronal cortical structures. The RECEPTIVE FIELDS IN OUR VISUAL FIELD – is: What is this principle JUST A FEW SCATTERED FLOATERS, that decides on what lecortical hypercolums – RESPECTIVELY? vel visual awareness gets cells in the first layer of the visual cortex (V1) that respond to light input aroused? Or, to put it another way, what is this shaped as lines – are linked together in a manner principle that decides whether a nerve impulthat creates noise patterns of certain types. On se comes to awareness as an isolated receptive the basis of the biological evidence that straight field or floater, or whether we perceive it integlines in the V1 are represented as curved lines on rated and interpreted as a part of the image we the retina, the researchers develop a mathemati- call “the objective world”? For lack of a better cal model. Applied to the types of visual cortex term, I call it the “principle of consciousness”. noise, this model produces neuropsychologist This consciousness principle might resolve the Heinrich Klüver’s types of form constants (a next question: If there is an abundance of recepspecial kind of entoptic phenomena), which he tive fields in the visual nervous system, why are described when experimenting with mescaline we aware of just a few projected receptive fields in our visual field – just a few scattered floaters, (Klüver 1966).

These studies show that entoptic phenomena respectively? I propose the following: On the have a neuronal correlate. However, they do not one hand, this abundance can actually be seen address what I think is the main question: How as entoptic phenomena in certain circumstances and where exactly is the light that is received by – e.g. by squinting at the sun (Tausin 2010). On the retina turned into visual consciousness? This the other hand, the fact that floaters are indeed is debated in today’s (neuro-) ophthalmology experienced as specific and persistent structure (Goebel et al. 2004), as the neuronal correlate indicates that the consciousness principle brings of consciousness is still a mystery to neurolo- a certain pattern of stimuli to visual awareness gists in general (Crick/Koch 1999). Fact is that on an early level of neuronal processing. Refervisual experiences feed from external stimuli ring to psychological or anthropological studies which are, however, neurally processed; viz. on entoptic phenomena and psychedelic drugs they are constructions of the nervous system (cf. (e.g. Reichel-Dolmatoff 1978; Klüver 1966), I Lehar 2004). The cited studies seem to suggest suggest that the consciousness principle does that visual awareness (of entoptic phenomena) this according to the current state of conscioustakes place only in the retina which is equated ness of a person. According to this line of thinfig. 3). These forward the signals in the surround of a receptive field and cause the opposite reaction of each neuron when the surround is stimulated. Thus, amacrine and horizontal cells are part of the center-surround antagonism which contributes to focused and distinctive vision.

king, one might say that what we see in floaters is the neuronal correlate of our current state of consciousness. This is where the observation of floaters may have a spiritual significance to some individuals, if it is put into practice as a meditative investigation of one’s own consciousness.

Movement Another question concerns the obvious movement of floaters: If floaters are the visual expression of immobile receptive fields in the retina, in the visual pathway and the cortices – how can we understand their motion in our visual field, often even influenced by our own eye movements?

Here too, the consciousness principle provides a possible solution, along with the psychological concept of “apparent motion/movement”.

The latter designates moving impressions that do not arise from moving environmental stimuli, but from stationary stimuli, which are shown in sequence. As it is the case with cinematic images which are projected to the screen in rapid sequence and, thus, allowing our brain to experience a moved picture, our experience of moving floaters might be the result of successive stimulation of different, but self-similar retinal and cortical regions. In our theory, these effects may, however, not be caused by external stimuli alone, but by the consciousness principle.

One objection to this might be that we obviously move our floaters by eye movements. My answer is that our physical movements cannot be separated from the consciousness principle: Our physical activity is a result of our state of consciousness; conversely, physical and mental movements such as eye movements, concentration, emotions, etc. stimulate our nervous system, alter consciousness and, in that way, may cause perception of movement, or apparent motion respectively. There is even evidence suggesting the close connection between the activation of the muscles around the eyes and the perception of entoptic phenomena: rapid pulsation of eye muscles may be related to inhibiting or exciting the cortical columns that control optic muscles and may produce phosphenes (Kent 2010).

If correct, this means that we do not move our floaters with our eyes, but our eyes are moving in accordance with the dynamic, visually perceivable expression of our consciousness. It means that we are causing our floaters to flow or to stop by our psycho-physical movements, or, to put it another way, by our consciousness.

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Floater strings and receptive fields Let’s continue with another important observation: Obviously, our floaters not only consist of spheres but also of strings. This might be the subjective visual expression of the fact that in certain cortical areas, the receptive fields of neurons are not circular and concentric, but elongated. They are strips of different spatial orientation. This means that neurons with elongated receptive fields strongly react to linear light stimuli like lines, columns, strips, etc. In addition, they are characterized by “orientation selectivity”, i.e. they are pitched to particular angles and orientations of these light lines. In ophthalmology, it is not yet fully understood how the output of neurons with center-surround receptive fields is translated into the orientation selectivity of the cortical neurons. A widely acknowledged hypothesis is that the elongated receptive fields in the cortex are, in fact, overlapping inputs of cells located in the lateral geniculate body. Those cells have, like bipolar and ganglion cells, circular receptive fields and end in the same receptive field of a cortical neuron (Goebel et al. 2004).

Explaining different light and size states in floaters neurologically Another important, though not common, observation is that floater spheres and strings show different states over time: one and the same sphere can appear as big and rather hazy or as small and clearly outlined. The transition from one state to another is fluent and proceeds in different time duration. In general, it seems that most floaters are initially relaxed, viz. bigger, closer and more transparent; with increasing time of observation, they change into the concentrated state. In addition, the spheres and strings increase in brilliance the more concentrated they are (Tausin 2011).

Fig. 6: The two kinds of floater spheres in transition from a relaxed (left) to a concentrated (right) state. Source: author.

One possibility to explain that observation neurologically is to relate the floater size to the successive stimulation of different retinal and cortical regions.

While in case of the observation of lateral or horizontal movements of floaters (see above), these regions are successively stimulated laterally, here they are stimulated vertically. In other words, the transition from one floater state to another corresponds to the transition of visual awareness from one neuronal layer to another. The simple and abstract information of every neuronal layer differs not in shape, but in size.

Let’s turn to the changing luminosity in floaters.

How come that we perceive light in floaters at all?

An answer is provided by Hungarian bioengineer Istvàn Bókkon who, referring to the phenomenon of bioluminescence, suggest that neurons emits light which we can perceive. He shows that nerve cells can transform electrical signals through processes of Fig. 5: From floater spheres to floater strings? Source: bioluminescence into ultra weak light. This light, or Goebel et al. 2004. the emitted biophotons respectively, not only serves Understanding floater strings as several spheres the intra- and intercellular communication, but can strung together not only corresponds to the sub- be perceived by us as entoptic phenonenon, e.g. as jective observation of floaters (although someti- phosphenes (Bókkon 2009, 2008). It is thus conmes there are strings that seem to be empty); it ceivable that the light in floaters arises from varyelectrical/biophotonic also fits the fact that more HOW COME THAT WE PERCEIVE LIGHT IN ing FLOATERS AT ALL? discharge of neurons. The complex forms – like floater strings filled with spheres– are represented by theory of awareness on different neuronal layers, neurons in the higher visual centers of the brain together with the notion of light emission of dischar(cf. Greenstein/Greenstein 2000; Goebel et al. ging neurons, is sufficient to explain the relationship of size and luminosity observed in floaters: When we 2004).

are in concentrated states of consciousness, visual awareness takes place in “lower” neuronal layers (I suggest: closer to the retina) with cells firing faster; being in more relaxed states of consciousness corresponds to visual awareness on “higher” layers with neurons less excited. This whole process is controlled by the consciousness principle, but also influenced by exterior stimuli.

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Conclusion In this article, I proposed a neurological explanation of eye floaters. A particular structure of neuronal processing seems to correspond to the structure of floater spheres and strings: the receptive field. Starting from receptive fields, I tried to understand some of the more important observations of floaters in terms of neuronal processing, assuming a “consciousness principle” that decides on what stage of processing visual awareness is experienced.

This work cannot prove the claims it has made, many questions remain. The text is intended to give new impetus to the further exploration of so-called floaters, starting from subjective observation. Especially the inclusion of the subject allows for a variety of different interpretations and explanations, not only ophthalmological or neurological, but also psychological, historical, anthropological and spiritual – a step towards a comprehensive science, which can complement isolated academic accounts on eye floaters and other entoptic phenomena.

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CONTRADICTIONS ARTWORK & PHOTOGRAPHY BY FILIPPO MINELLI

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CONTRADICTIONS TEXT BY DAVID PIERCE

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treet art and public works are now widely accepted in high art circles and are held to higher standards than in the past. If a statement or mural is placed into the public it is in a sense forced on to the public. What must this art say or do if the viewer did not choose to participate? If one were to start shouting in public there are expectations that the shouter should have something important to say or the public will view them as insane or irrelevant.

Making a work public and even breaking the law to do so is no longer a sublime act of rebellion in itself. Street art is a contradiction in today’s contemporary art world. A nuisance to some, a

legitimate work of art to others the works are subject to the standards and tastes of the art world and the tastes and temperament of the wider world. Italian artist Filippo Minelli plays with contradictions in society and his medium masterfully. His series “contradictions” examines the way in which corporations have appropriated nature and intervened in the human and natural world. By intervening directly in a space, the works comment on our intervention and our relationship with earth’s new ecosystems.

Humans have changed the natural world irreversibly. The earth’s ecosystems are evolving and developing ways to tolerate or possibly eradicate their human intruders. Minelli is based out of Brescia Italy, a picturesque suburb of Milan near

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the foot of the Alps. His public works though, stretch well beyond his home base. In fact the breadth of his travel is impressive enough in it’s own right. But in the case of the “Contradictions” series the location of the works are crucial to their conceptual nature. Our human impulse to construct meaning out of art lends itself to street art. We react to what is clever and generally allow the work to be satirical and unflattering of our lives and ourselves. Humans do indeed like to laugh at themselves. Nowadays without a punch line public art will be reduced to being viewed as graffiti or a nuisance. Public art that can be viewed as important in a contemporary sense has come a long way from the Basquiat days when it was enough to merely evoke the glamour of the act. The rebellion of the act alone

countries that have the research and development gain while the countries that manufacture tend to suffer. Facebook flourishes in CaliforFACEBOOK, MYSPACE nia but the chips that ETC ARE GLOBAL power the servers and CORPORATE CONcomputers of the sites STRUCTS. THIS IS A users are made all over HUMAN REALITY THAT the world, normally in TOUCHES EVERY PART the developing world.

OF THE GLOBE. BUT, The works themselWHO BENEFITS? ves are economical statements. Executing this is a simple matter of spray-painting the name of a corporate entity (often a tech company or popular website’s name) in a public space.

A gesture this simple can be passed off as a oneliner or juvenile trickery. What makes the work compelling is the context. Painting the word “facebook” on a wall in Silicone Valley would be a meaningless gesture. Painted in a scrap yard in Mali and the gesture takes on a life in itself. Corporations such as Myspace and Facebook have such an intangible product that is interesting to see the connection made with the developing centers where the chips and hardware are often manufactured.

The shear breadth of Minelli’s travels is enough to be marveled at. His interventions in advertising and the public space can be found all over the world. Where he chooses to paint speaks to the relationship the developing world has with developed countries and what relationship all humans have with nature.

David Pierce, New York 2008

demanded little more of the artist than to simply write their name or leave a mark.

Aptly trained by graffiti superstars like Banksy, the contemporary viewer demands a clever statement if work is to steal the audience’s attention or gain acceptance. Minelli’s contradictions series is aware of the demands of the viewer and hands them a mirror. Look at yourselves. Look at the whole world. What do you think? Do you like what you see?

Facebook, Myspace etc. are global corporate constructs. This is a human reality that touches every part of the globe. But, who benefits? Are we mimicking the structures of the industrial revolution? Who are the winners and the losers?

The story always seems to be the same. The

XXX

BY BLAKE GORDON

PLACES OF THE FUTURE

Page 342

OVERSIZED SCULPTURES PETROS CHRISTOSTOMOU

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BREATHING ROOM ANTONY GORMLEY

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LUX ULRIKE BUCK

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KUBUS BENJAMIN ZUBER

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MASCHINISTISCHE BILDER MARKUS MRUGALLA

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PSYCHONAUTS SEARCHING FOR DMT – DIVINE MOMENTS OF TRUTH KATHRIN STÄRK

Page 368

BLACK HOLE JOCHEN HAUSSECKER

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CLOUD CITIES TOMÁS SARACENO

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BECOME A PILOT OF YOUR OWN LIVING SPACE CHRISTIAN MÜLLER

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PAINTINGS ANKE BAUER

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AWAYDAY TO PARADISE IAN BREAKWELL

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LAS VEGAS DAVID BATE

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SPRINGFIELD JESSICA VOORSANGER

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OVERSIZED SCULPTURES ARTWORK BY PETROS CHRISTOSTOMOU

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etros Chrisostomou constructs hybrid spaces, combining the concerns of artist, sculptor and curator. Through his practice he takes possession of each space, creating a dynamic paradox between the three-dimensional architectural models he builds and the final photograph, which renders it two-dimensional.

His work, as much sculptural as photographic, can be viewed on several different levels.

Drawing inspiration from concepts of hyperreality, Chrisostomou’s images not only revel in signs and symbols - the simulacra of contemporary life, they transcend that postmodernist trope of the simulacrum, offering distinct traces of the skewed realities of the Dadaists or fantasies of the Surrealists. These Dada-esque or surreal qualities are underpinned and stabilised by the architectural accuracy of his miniature interiors, which draw from broad influences, from classical Palladian or a White Cube gallery space, to the contemporary commercial kitsch of

fast-food joints. The humour is undeniable, but its satirical subjects are tantalisingly obscure, asking us to do the excavating.

Chrisostomou’s self-constructed model interiors contain life-size objects and within this context, the objects are transformed into oversized sculptures, surreal representations of themselves. The perversion of scale is meant to elude and seduce us - are we in Gulliver’s Lilliput or Brobdingnag? The images elicit questions. Is what we see reality or fiction, a narrative or an enigma?

The whimsical humour of his images questions how we perceive and interpret them using a range of incongruous visual clues which are not simply obscure constellations of objects and spaces, but symbolically rich contexts. In whichever way we relate to them these sculptural works rendered into still-life tableaux, continue, through their complexities, to intrigue and to beguile.

great picture providers Images courtesy of the Artist and Galerie Xippas Paris/Geneva/ Athens/Montevideo and Nicholas Robinson Gallery New York.

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BREATHING ROOM ARTWORK BY ANTONY GORMLEY BREATHING ROOM II, 2010 aluminum tube, 25 x 25 mm, Phosphor H15 and plastic spigots 151 15/16 x 337 3/8 x 365 3/8 inches (386 x 857 x 928 cm) AG-1016

© Antony Gormley Photography: Jason Wyche, New York Courtesy: Sean Kelly Gallery, New York

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nlightened sky pieces, appropriated from 16th century etchings are combined with a radial construction of tilings. RGB - the primary colours of light.

Series of three ballpen drawings in red, blue and green 20 x 25 cm each, 2012

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SOMEHOW LOGICAL FOR BENJAMIN ZUBER ART IS A SYSTEM. HE PLAYS WITH ANALOGIES TO SCIENCE AND AT THE SAME TIME WITH THE BOUNDARIES OF HIS RADII OF REFERENCE. AT THE AGE OF NOT YET 30 THE CONCEPTUAL ARTIST ALREADY EARNED SEVERAL ACADEMIC DEGREES AND HAS MANY MANY ART PRIZES IN THE BAG. CURRENTLY, HE LIVES AND WORKS IN VIENNA AND NUREMBERG FROM WHERE HE IS DIRECTING HIS ABSURD YET ALWAYS LOGICAL PROJECTS. SHORTLY AFTER HIS RETURN FROM SWEDEN, WHERE HIS LATEST EXHIBITION “PLATZHIRSCH” (“OLD BULL“) HAD ENDED, HE ANSWERED OUR QUESTIONS TO ILLUMINATE THE BLACK HOLE OF HIS ACADEMIC COMPLEX ART.

Lotto Magazin: When regarding your work one picture forcefully emerges: man observing how the machine works, but at the same time has no idea of how it functions. How do you perceive the encounters between the audience and your art?

Benjamin Zuber: I don`t think that you can really talk about inaccessibility. Of course there are different levels of approach, amongst others also depending on the viewer, but you can probably say this about art in general. Complex academic methods are fascinating me just like proving a thesis to be an unalterable truth.

Though, I think that in the end every system is based on a self- referential logic; but you can only recognize this as soon as you take a certain external perspective. I’m aware that, even in an academic context, you have to deal with this “blind spot”. In any case, you can hardly deny that (theoretically) taking this external perspective demands a maximum of expert knowledge or even is impossible. While thinking about models of internal logic I’m more concerned with the opposite of inaccessibility: For the wonderful thing about art is that it is possible to search for analogies and models within pieces of art which by far exceed the single piece of art itself. And indeed, basically the function of a model is to exemplary explain complex connections. Against this background I’m interested in searching for models for much more complex systems, which suddenly make the circle of self-referential internal logic tangible. If you transfer this to your example of the machines, my artworks are probably rather simple mechanisms, composed of single components related to each other, both in an obligatory as well as an absurd way. However, I don’t like the didactic connotation of this machine analogy very much. I don’t want to explain the specific operating mode of such an ab-

surd logic; neither to illustrate how single gears interlock. I’m much more concerned with making the simultaneity of “obligatory” and “absurd” tangible. It is not like that I would create a precise blueprint for a deliberated substantial message and then materialize it. Many things come about as a result of trial and intuition. I´m so glad when I feel that a finished work in itself is completely imperative and logic. Although even to me it might seem absurd and illogical. It is not important what exactly led to the result. A proven formula would be rather boring. And I’m even more excited if people get a similar feeling when regarding my work. That’s what I mean by “models of internal logic”.

LOTTO MAGAZIN PLACES OF THE FUTURE 358–359

Many of your objects play with putrefaction and paradoxically transform it into something aesthetic. What do you want to provoke with this?

In the choice of materials I prefer to let my­ self be led by aesthetic preferences and intuition.

This is an excellent method to cancel your own conceptual consequence. At best this leads me to a point where my work is logic and absurd at the same time without being predictable. Pushing the limit of the material’s capacity I would regard as a sculptural method, which ends in a similar simultaneity as well. Especially in questions of construction the point where a solution is barely functioning really fascinates me. At best, this exploration of maximal capability thus leads to a material seeming almost perfectly suited precisely because it is maximal challenged. On the other hand it might be completely inapplicable precisely because it is almost failing the promised function.

I’m not only interested in breaking points.

The same applies to the limitations by technical constraints or financial feasibility of a project et

cetera. I believe exploring as many boundaries as possible leads to good results and broadens your horizon of possibilities. However, putrefaction does not explicitly belong to my aesthetic preferences. Actually, it only plays a decisive role in one of the above-mentioned works, in my installation titled “raw”. Also the setting of this work is the dissecting room of an anatomical institute. The joke of using raw yeast dough is based on the fact that it will not moulder, but rather rise, continue to work and so will have “lived” for the whole duration of the exhibition.

Nonetheless, in all those works I am also interested in the pictorial aesthetics of melting and moulding and I very much enjoyed the associated vanitas-symbolism.

There is a tension arising between the concept and a material fetish, which basically equals constantly putting your general concept in question. Likewise, science always is only in a momentary condition of stability and could collapse at any time. Did you consciously choose this analogy?

Yes, that’s the way I see it also. I’m interested in this analogy between science and art in general. Besides this analogy is included in my work with the deliberations on internal logic.

Your works have become quite clean in general.

Why’s that?

I wouldn’t say that I attach great importance to formal sleekness or that my way of working has changed. But I do work on a certain conceptual and formal precision. I believe that this has also something to do with the method of exploring boundaries. I personally think that it is witless to deliberately search for some dilettantish solutions, despite your own technical capabili-

ties have expanded in a certain field. Although dilettantish solutions that simply occur can be great. But usually I rather try to realize something I’m not exactly sure of, if and how it technically functions. I love to spur things on to the point where I fail. If this happens in a field in which I already possess quite good manual skills, I just fail on a high level. But for this exact reason I am tempted by technical solutions I’m not proficient in. And since I never commit myself to just one specific technical field, I actually don’t see the risk of my workmanship becoming too “clean”. A different aspect in some of my works though is playing with suggestion. I’m interested in formal solutions or forms of presentation, which literally scream for being a piece of contemporary art. Sometimes I enjoy presenting an object or a drawing in an unbelievably contemporary way, although it’s just about the object itself. This could apply to a single element of an installation that only exists to establish formal references to visually hard-to-reach elements of the same installation.

It works a bit like a Trojan Horse.

One last thing: Where does it start and where does it end? How do we have to picture the creative process of the artist Benjamin Zuber?

That’s hard to generalise. Regarding the creation of a single work you could say that most of the work happens in your head in advance, but decisive things do not happen until it is carried out. One characteristic and perhaps rather uncommon feature is that I stopped long ago to note my ideas. You have way too much of them anyway and LOTTO MAGAZIN more than you can PLACES OF THE FUTURE ever realise. Before, 360–361 writing down every

idea rather put me under pressure than taking the heat off. In return, I noticed that I can rely on a kind of natural selection. Some ideas naturally pop up over and over again and don’t release me until the moment when the concept perfectly suits a situation or is so elaborated that I just have to realise it. When I finally carry out a work, it has been on my mind for months or even years.

KUBUS, 2010, Installation, White stretch film, pond liner, fluorescent tubes, laths, tension belts (Size of the cube: 280 x 400 x 400 cm)

Kubus is a hanging White Cube made of white stretch film, containing

with its weight. Viewed from the inside, the stretch film appears to be

a square of stretched matte black foil. The room is lit with fluorescent

glossy and opaque white. But from the outside the material is translucent

tubes. The cube is constructed of two identical horizontal pieces, which

and reminiscent of parchment, transforming the outer facade into a kind

define the form and the size of the cube. The walls do not need any

of a painting. Finally the whole installation works as an inside-out

support â&#x20AC;&#x201C; the lower piece simply hangs within the film and stretches it

White Cube and illuminates the surrounding exhibition space.

MASCHINISTISCHE BILDER ILLUSTRATIONS BY MARKUS MRUGALLA

“THEY SAY IT MAKES YOU RETURN TO YOUR BIRTH BECAUSE IT SHOWS YOU DEATH.”

PSYCHONAUTS SEARCHING FOR DMT – DIVINE MOMENTS OF TRUTH FICTIONAL REPORT BY KATHRIN STÄRK

T

he journey begins in an eco-camp in the middle of the Ecuadorian jungle. The original task is reforestation. But it is also a journey to myself. To find myself. The natives brew a botanical decoction from the bark of the Banisteriopsis caapi vine and of the leaves of the Psychotria viridis. We are aware of the active ingredients, but that’s all we know. This magic potion sends you on a journey to your deepest self, to a place that is usually unreachable. They call it Ayahuasca. The shaman hands me a cup of the brew.

“It tastes bitter, nasty, mouldy. My stomach is revolting , I start retching”.

The active ingredient of Ayahuasca is a substance called DMT. The impact on your consciousness is immense. A lot of people describe it as “spiritual” and it is characterised by detailed, very bright and colourful visions. Indigenous tribes use it to enter the world of spirits. Psychologists classify DMT as a hallucinogen or psychedelic.

“A substance that makes your soul visible.”

After a while I start feeling numb. I squat in the darkness of a bamboo hut and fight my queasiness and with my inner self. I lose complete sense of time. Once in a while a shaman is checking on me. He shines a flashlight in my face

and asks me if I’m fine. Has it started yet? He has prepared me for this impressive experience, which starts out quite unpleasantly. I can’t stand the smallest sliver of light. I fight through war scenes. Insects everywhere. Horror. Yet, one last bit of consciousness keeps me from indulging in those fears. The fear doesn’t take over.

“They say that Ayahuasca’s spirit is a snake. I have seen it.”

Suddenly the snake is inside the room. It wants me to make a decision: “You have to choose: Either you can just go on like before or you can choose peace.” I walk through a door and encounter me.

I am a mother. I am a child. My mother’s lap is comforting. In a time lapse I relive scenes of my life. Life feels pure and real, it is not pure pleasure what I feel but it is real and it is good. Everything makes sense now. Repeatedly animals appear in my visions. Yet they are surreal. I see cows flying by. I feel drops of water, drops of milk, the cow, smell cheese. I am on a rollercoaster of slurring, ever changing images. I am a part of this, I become part of the pictures, melt into them, feel like I am a part of a great cycle of life.

“They call Ayahuasca ‘the vine of the souls” The trip lasts for 4 to 8 hours. The effect reaches from slightly stimulating to extremely visiona-

XXX

BY MARKUS MRUGALLA

ry. For the natives it is a medicine and shamanic means of communication. During a ceremony experienced travellers initiate novices. No one knows with certainty for how long the potion has been in use. It was originally mentioned by the famous British ethnobotanic Richard Spruce in 1850. It is estimated that Ayahuasca has been in use for more than two centuries.

“The quest for the Holy Grail of shamans.”

Shamans take Ayahuasca to communicate with nature or to find the cause for their patients’ sickness on a spiritual level. In the past few decades Western societies began to show interest.

Not only scientists were interested. Searching for an expansion of consciousness psychonauts confronted themselves with the richness of their minds, the universe’s infinity and their greatest fears.

“A laxative of enlightenment?”

The longer I spend in South America the more Ayahuasca disciples I come across. Backpackers like me. They always seem to look for a trip to expand their consciousness. In a hippie community on a beach in Ecuador people tell me with bright eyes about DMT as if it is the Holy Grail. Chewing coca leaves in the mountains of Peru I discussed the different ingredients with a goa-couple. Our conversation reaches from Ayahuasca, the green and bitter sister of the vine, to San Pedro, a bright green cactus, which tastes equally bitter, bilious and mouldy like the vine. Its active agent Mescaline has been described and praised at length already.

LOTTO MAGAZIN PLACES OF THE FUTURE 366–169

“Let’s not fool ourselves. This trip is exhausting.”

One of the side effects of Ayahuasca – besides diarrhoea – is vomiting. Luckily I didn’t have to deal with any of them. One tribe refers to Ayahuasca as “kamarampi”, which derives from “kamarank” – to throw up. It is also called “la purga” (laxative) because it completely empties your body and cleanses your spirit. Travellers claim that they feel rejuvenated and reborn after this extraordinary experience.

If you believe that this is just any other trip – you’re wrong. Ayahuasca will show you the immense beauty of the cosmos. The visions are overwhelming, highly emotional. However, let’s not fool ourselves. The trip is exhausting; even days later you still have a tingling feeling of being in another world. It is an experience with a larger than life phenomenon whose impact shouldn’t be underestimated.

BLACK HOLE ARTWORK BY JOCHEN HAUSSECKER INTERNAL PRESSURE // STAND STILL // POINT OF NO RETURN // ALL LIGHT EMITTED // DEFORMS // BODY FALLING // STARS TO DEFORM // NOT ESCAPE // GENERAL BLACK // VACUUM // IS LOST TO OUTSIDE OBERVERS // DISTORTS THE IMAGES // STRANGE FEATURES // ROTATING // NO LONGER POSSIBLE (...) TO ESCAPE // STOP THE COLLAPSE COLLAPSE AT THE END OF THEIR LIFE

A

black hole is an object that is so compact (in other words, has enough mass in a small enough volume) that its gravitational force is strong enough to prevent light or anything else from escaping.

The existence of black holes was first proposed in the 18th century, based on the known laws of gravity. The more massive an object, or the smaller its size, the larger the gravitational force felt on its surface. John Michell and Pierre-Simon Laplace both independently argued that if an object were either extremely massive or extremely small, it might not be possible at all to escape its gravity. Even light could be forever captured.

The name “black hole” was introduced by John Archibald Wheeler in 1967. It stuck, and has even become a common term for any type of mysterious bottomless pit. Physicists and mathematicians have found that space and time near black holes have many unusual properties. Because of this, black holes have become a favorite topic for science fiction writers. However, black holes are not fiction. They form whenever massive but otherwise normal stars die. We cannot see black holes, but we can detect material falling into black holes and being attracted by black holes. In this way, astronomers have identified and measured the mass of many black holes in the Universe through careful observations of the sky. We now know that our Universe is quite literally filled with billions of black holes.

(Source: Hubblesite.org)

LOTTO MAGAZIN PLACES OF THE FUTURE 368–369

above: FLYING GARDEN/AIR-PORT-CITY, 2005 courtesy: The artist and Andersen´s Contemporary, Tanya Bonakdar Gallery, pinksummer contemporary art photo: Silani

right: CLOUD CITIES, Sketch: Hamburger Bahnhof 2011 courtesy: Tomás Saraceno

LOTTO MAGAZIN PLACES OF THE FUTURE 370–371

CLOUD CITIES CONCEPT & ARTWORK BY TOMÁS SARACENO

T

he projects undertaken by Tomás Saraceno defy the traditional notion of space, time, gravity, consciousness and perception, as seen in his architectural proposals, whether of a social or community nature, depicting an utopian and participating nature. The sky and the land are intertwined in his installation, the gardens float and the people fulfil their much longed for desire of flying. Inspired by his interest in introducing changes in the manner of living and experimenting reality, every single one of his pieces is an invitation to ponder on alternative ways to know, feel and interact with other people. At the same time, Saraceno appeals to the creativeness of the viewers by involving them in situations and actions that demand their ingenuity, their participation and responsibility. His projects also propitiate interrelations and propose interdependence between spaces where the focus is set on emphasizing the ecological aspect, not only of the rural but also of the social environments. To a certain extent, his work indicates the feasibility of the world to those who are willing to collaborate with design and construction.

The work of Tomás Saraceno is perhaps the set of tools that we were missing.

Text: Rodrigo Alonso, Arte contemporaneo Argentino, Artista por Artista, 2008

above and right: CLOUD CITIES, 2011 installation view photo: Jens Ziehe

sketch: CLOUD CITIES, 2011 courtesy: Tomás Saraceno

LOTTO MAGAZIN PLACES OF THE FUTURE 372–373

LOTTO MAGAZIN A GREGARIOUS ANIMAL 374–15

C

obwebs, bubbles geometries, astrophysical metaphors and visions of a Buckminster Fuller, are just some of the inspiration of the 1973-born artist Tomás Saraceno. For several years, the artist has been part of the international art world and utilised major exhibition venues from Minnesota to Australia with his organic space netting. “Biospheres”, “Spheres” or “Flying Gardens” he calls his objects, which are sometimes inhabited by plants, sometimes only held by black cable nettings floating in space.

Inspired by network structures such as a spider's web, Saraceno pervaded an entire room

spired by teachers such as Peter Cook, but also by visionary architectural utopians of the 20th Century as Yona Friedman or representatives of a “biomorphic” architecture such as Frei Otto.

The quality of scientific phenomena such as spider webs or soap bubbles and the latest scientific findings are fascinating Saraceno and are an integral part of his works. In a multi-disciplinary process, he pursues the idea of a “realisable utopia.” Over the years the artist has been refining the experimental approach of “Air-Port-City”, which is decisive for his work. Inspired by the historic Zeppelin City in Frankfurt, where he both lives and works, Tomás Saraceno designs possibilities of architectural environments as cellular, floating cities. The artist has high aspirations.1 He postulates “Cloud Cities / Air-Port-City” were a structure aiming at provoking today’s political, social and military boundaries in a test to re-establish new concepts of synergies. This cloud will be far up in the sky, a habitable platform that floats in the air […].2 As an artist Saraceno was influenced by the ideas of architectural and art history. Concepts of a “Flying City” (1928) by Georgi Krutikov and Archigram’s Utopia of the “Instant City” (1968–70) are to be named as sources in this context. Especially Buckminster Fuller and his concept of “Cloud Nine” (around 1960) form an important backdrop for the artist’s work. The phantastic architectural utopia “Cloud Nine” describes a free-floating sphere, pervading 1.6 kilometres, which offers a habitat for independent communities comprising several thousand residents.

with black ropes for his 2009 work “Galaxies Forming Along Filaments, Like Droplets Along the Strands of a Spider's Web” at the Venice Biennale. Saraceno also created works for public space. Since 2007 the “Museo Aero Solar” is going around the world: Tomás Saraceno co-initiated this open project accessible for everyone.

It is a giant solar balloon, whose skin consists of thousands of used plastic bags, and with each landing it is supplemented by more plastic bags and continues its journey in modification. The starting point for the artist's work is his interest in our current and future living environment. Saraceno, who first studied architecture and then art in Buenos Aires and Frankfurt, has been in-

Text: Katharina Schlüter Dr. Katharina Schlüter is a scientific museum assistant at the National Gallery at Hamburger Bahnhof - Museum for Contemporary Art – Berlin.

1

Cf. Ronald Jones, “Seid Geduldig”, in: Rossmarkt3 2010,

Cloud Cities / Air-Port-City by Tomás Saraceno, ed. by Juliane von Herz, p. 84.

2

cf. ibid.

left: CLOUD CITIES, 2011 installation view courtesy: Tomás Saraceno

BECOME A PILOT OF YOUR OWN LIVING SPACE TEXT BY CHRISTIAN MÜLLER

A

LOTTO MAGAZIN PLACES OF THE FUTURE 376–377

6 huge multinational furnishing company supposedly found out through worldwide house calls that most people consider their flats to be way too small. What a surprise, they complain about too little space and stowage place while the rents are constantly rising.

Current statistics support the findings of this poll: On the average, a person in a mega city has not more than 15 to 20 square meters to live in. It is estimated that in the year 2050 approximately 69 per cent of the global population will live in cities. The latest catalogue of this company thus reads “For those who have more ideas than space” offering multifunctional furnishings and flexible storage solutions. The idea: Most efficient 5 exploitation of very little space, optimization of stowage place by using adjustable, foldable and stackable elements. The room is supposed to serve several purposes at 7 once.

AA-19930-13

This, however, is not new at all. The Swiss- For him a house should be created just like a car, French utopian in architecture Le Corbusier a ship cabin or a sleeping compartment. And his developed much more radical solutions in 1927 intention was not formally or metaphorically but already to solve the problem of limited living rather structurally. For Le Corbusier matters of space. He built a twin house with which he housing construction have to be solved exactly realized his idea of the transformable room. The and logically just like in vehicle production. house –a contract work for a model exhibition To his mind it is a question of space economy of the Deutscher Werkbund (German Work and standardization. Functionality is not his Federation) in Stuttgart – is based on a special objective, but appropriate means. The house system of iron pillars which makes it possible as a “living machine” may take away the work for the ground plans of the particular floors to from man. The functions of habitation shall be be designed independently. As the interior walls economic, purposeful, energy-saving, and run of the house are free, not supporting walls, Le smoothly.

Corbusier used in order to enable a multiple use Both flats in the twin house mentioned afore of rooms. feature a high degree of multifunctionality, During day time you can have a spacious economy, and unadorned simplicity. living room while for the night you can transform He who lives in such an environment practices it into several little sleeping rooms. For that a certain lifestyle. He builds a strong relation to purpose rollable IN TINY ROOMS YOU HAVE TO REDUCE TO THE his environment, as beds, which were ESSENCE, YOU LEARN TO SHED UNNECESSARY he creates it himself stowed in concrete THINGS IMMEDIATELY AND THE RELATION without much effort. lockers during day TO YOUR SURROUNDINGS BECOMES CLOSER. Again and again time, can be moved into the room. Apart from he makes himself aware of the restructuring those concrete lockers there is only little more principle of a wall. He does not take it for furniture in the house. It is not even possible granted, but as modifiable. The inhabitants of to get larger pieces of furniture into the house a Le Corbusier flat are more than passengers, because the corridor is narrow: precisely 68 who are customers of a service without making centimeters. This is also exactly the width of a experiences. The awareness process lets him sleeper in a train. Vehicles were a role model for become a pilot of his own living space. He Le Corbusier's architecture. controls and defines the space. In his self-

conception he, like a machine that understands itseld, he opens up new possibility of living differently and intensely. It does not matter where the house is located. This twin house is a closed, location-independent capsule: a spaceship. Man does not need much room for living: the size of a sleeping compartment or a spaceship capsule is sufficient.

It is not surprising that small buildings are becoming increasingly popular in large cities.

This development is more than the logical consequence of obstructed inner cities and the exorbitant land prices. It is a counterpoint to THE IMPRESSION OF the complex urban life and work, while the SPACE IS NOTHING capsule itself is quite BUT A FEELING. complex in means of functionality. In small spaces you have to concentrate on the essentials and you learn to sort out. If today's economy is characterized by efficiency, margins and saving, why should you be lavish in means of habitation?

In modern working places people are rarely surrounded by impractical decorative things but by functional and efficient items and machines.

They are not supposed to have superfluous things at home neither. All the things are supposed to stand neatly where they belong, take as little space as possible and, at best, they should be multifunctional.

Both, our living and our working environment shape the way we think and act. So, both areas should be on the same level of development in order to prevent people from being irritated and act inefficiently. And, a flat that is small in size does not necessarily have to seem narrowing and constricting. The impression of space is nothing but a feeling. Accordingly, a spacious hall does not have to give you the impression that it is huge; this is so because you immediately have a view unto its entirety. Whereas a multifunctional room can appear spacious because you cannot see what is hidden in all the corners, you have to discover the room little by little. So one of the most absurd developments in modern architecture seems to be: the loft. Just as much as the latest trend called “giant furniture” with lumbering up your living room with giant sofas.

All the technical gadgets we are surrounded by in our daily life – and not only in our flats – are getting smaller and smaller. The effects of this development on our living environment become more and more obvious. The tube television has become a flat screen, the iPod is the new hi-fi system and the computer that used to occupy the whole working desk is now a portable laptop.

Technological progress will considerably change the size, design and usage of our flats. Everything will become smaller. Is there any more need for a book shelf now that there are E-books?

LOST IN DISTURBIA ARTWORK BY ANKE BAUER right: HALLELUJA HAPPY DING DONG, 2002, oil on canvas, 100 x 200 cm

LOTTO MAGAZIN PLACES OF THE FUTURE 378–379

AWAYDAY TO PARADISE TEXT BY IAN BREAKWELL

L

ast night I dreamed I was in paradise. I knew that’s where I was because it said so on the serviette with which I dabbed my lips while I sipped the perfectly brewed espresso from the tiny cup bearing the same legend, in the same elegant copperplate script as on the matchbook I used to light my leisurely rolled cigarette.

Alongside the similarly engraved ashtray lay my copy of Paradise News. The headline said “All Is Well.’ “How reassuring,” I thought as I languidly blew smoke rings into the eucalyptus scented air, “everything as it should be.”

DON'T TAKE YOUR GUNS TO TOWN, 2002 Tusche auf Papier, 100 x 70cm

LOTTO MAGAZIN PLACES OF THE FUTURE 380–381

Beyond the table at which I sat stretched the piazza with its cool fountains. Through the cascading screens of shimmering droplets I gazed entranced as endless processions of young women carrying musical instrument cases moved like sleepwalkers across the marble tiles.

“Yes indeed, Nirvana,” I mused as a white-jacketed waiter appeared at my side with a white mobile telephone on a silver tray.

“A call for you sir.”

I´M STICKING WITH YOU, 2007 Öl auf Stahl und Magnetfolie, 120 x 180 cm

“There must be some mistake, no one knows I’m here.”

“They asked for you by name sir.”

I lifted the phone.

“Yes?” “It’s me. Harry. Your cat. I’m outside your bedroom door. You’ve not set your alarm. It’s twenty past nine, and I want my breakfast, now!

If you don’t get up this instant I’m going to pull up the corner of the carpet and thump it until you do. And I’m going to howl.”

“Give me a break Harry. I work all hours God sends to keep you in catfood. Surely I deserve a lie-in on my day off, especially as I’m in the middle of the most exquisite dream of paradise.”

NACHGEGEBEN, 2006 oil on canvas, 145 x 180cm

LOTTO MAGAZIN PLACES OF THE FUTURE 382–383

VERRÜCKTHEITEN IM RAUM, 2002 oil on canvas, 135 x 150 cm

“I don’t give a flea fart for your dreams, I’m talking reality - Whiskas Meaty Chunks. If I could work a can opener I’d get them myself, but as it is I’ve got to get you out of bed.”

Thump! Thump!

“Miaow! MIAOWWWWWWW!” “Fuck off Harry, you miserable spoilsport,” I yelled as I stumbled out of bed, booted him down the stairs, then climbed back under the covers, concentrating hard on regaining my seat in paradise as I drifted into fitful sleep.

In the deserted piazza the fountains had been turned off. Darkness had fallen. The chairs were stacked upside down on all the cafe tables except mine. On the table was the bill, at the bottom of which, printed in copperplate script it said “Thank you for patronising Paradise. We hope you enjoyed your visit and that you will call again.” Beside the bill the telephone began to ring.

Reproduced by kind permission of the Estate of Ian Breakwell © The Estate of Ian Breakwell Also published by RGAP in Awayday to Paradise and other

FLIP, 2008 oil on canvas, 160 x 180cm

right: THERE IS NO TIME FOR FUSSING AND FIGHTING, 2004 oil on canvas, 145 x 250 cm

LOTTO MAGAZIN PLACES OF THE FUTURE 384–385

LAS VEGAS TEXT BY DAVID BATE

I

cast my eyes back across the horizon and then close them. Beyond the Eiffel Tower I can just see the black pyramid. It has a streak of light, like a beam from a torch, shooting upwards towards the stars, and disappearing into infinity.

The sky, vast and empty, echoes the air with a cool desert breeze, despite the intense heat that the spring day had reached earlier. The ground is warm and a gentle vibration can be felt from all the machinery of the street, elevators, escalators and machines that polish the pavement until it is shiny. Cleaners clank the bins politely, making their way down the strip. Yes, this is Vegas.

SPRINGFIELD TEXT BY JESSICA VOORSANGER

A

lawless, highly colourful city both in its personality and its intense and limited colour palette. Similar in some ways to Miami, another city I have only visited through TV (Miami Vice). Springfield is a classic American suburban city centred on its main street and local shops with a strong residential character. Highly overshadowed by the presence of the cooling towers of the local nuclear power plant. This adds a different kind of colour to the city through its quiet yet pervasive poisoning of its local inhabitants, most noticeably through its three eyed fish.

Being a small community there is very little need for a major transportation system. Although through great enthusiasm, small powers of reasons and large quantities of money the town council voted to have a mono-rail train system installed, lasting only its maiden voyage when it was noticed that in the compartment that would normally house the brakes a family of Possums was residing. This could have ended cataclismically, but the day was saved by the newly trained Mono-Rail Driver who managed to secure the moving vehicle onto an over-large advertising hoarding in the shape of a donut.

There is a very strong rivalry with its neighbouring city, once manifesting itself having Springfieldâ&#x20AC;&#x2122;s prized lemon tree stolen and its subsequent retrieval. Strangely, even in its lawlessness, the residents are God fearing and are regular weekly visitors to Church on Sunday.

CONTRIBUTORS

the act of production, conception and execution itself.

as a sculptor and the closest he has ever come to depicting

The outcome is a structure or set of structures that address

people in his artwork are the cut-out silhouettes of politi-

the power relations implicit in constructed environments.

cians and heads of state. Thus, his reconstructions are close

RAINER BRENNER

truth and fiction does always subtly show. Besides creating

*1981, LIVES IN ZURICH

his own artworks, Thomas also shares his knowledge by

There’s not much that Rainer likes bet-

teaching students at the University of Fine Arts, Hamburg.

ter than riding shotgun to photographer

BAI XIAOCI SHEN XIAOMING

to, but never perfectly, realistic so that the gap between

Daniel Tischler. Be it for extending

LAURA ENGELHARDT

* 1974, LIVES IN SHENZHEN, CHINA

their series “Querschläger”, their common art projects or

*1988, LIVES IN STUTTGART

Bai started taking photos in 2004

just for the sake of driving Switzerland´s longest freeway,

Laura studied Arts, Design & Envi-

triggered by his interest in Chinese

the A1, for 3 days. When Rainer’s not on the road with Dani,

ronment in London and Architecture

cities and their increasing level of ur-

he’s working as a editor in charge for kinki magazine and

at the University of Stuttgart and the

banization. His works were selected by contemporary art

as a free journalist in Zurich or spends time with his lovely

Academy of Fine Arts. During her studies she learned that

exhibitions in Shenzhen, Hong Kong, Beijing, Shanghai,

girlfriend and their son. He likes gangster rap and hates un-

architecture is a good deal more than just construction. In

Guangzhou, Taipei, Milton Keyne and more. Long term

grateful people.

this respect, Laura especially dealed with and was influen-

photography projects are: “I LIVE HERE”, “Government

ced by Gilles Deleuze´s philosophy and way of thinking.

Building in China”, and “HOW TO MOVE”. The series

ULRIKE BUCK

mainly consist of extensive amounts of photographic

*1983, LIVES IN MEXICO CITY

create mental bulidings by using the power of words, in-

images and typologies of Chinese urbanization.

Ulrike studied sculpture at the State

stead of solely building spatial models or creating drawings.

ANKE BAUER

Academy of Fine Arts and Design in Stuttgart, where she received her

For Laura, her theoretical work presents an opportunity to

BLAKE GORDON

*1973, LIVES IN STUTTGART

Diploma in 2010. A central issue in her work is the ex-

*1981, LIVES IN A TRUCK AND/OR TRAILER

Anke makes the intrigued hunt their

ploration of various mediums including sculpture, dra-

IN AUSTIN, TEXAS OR CARBONDALE, COLO-

way in and out of her meticulously

wing, video, photography and performance. Not only her

RADO

painted landscapes. Infinite, colorful,

artistic products are mostly threedimensional – she also

Raised as an athlete and trained as

and a tad bit aloof, her curious tower-blocks, futuristic landscapes, Space-Shuttles, and idyllic crumbling villas

describes the underlying research process as such.

a landscape architect and designer, his work utilizes art, academics, and athletics. Though exploratory in nature,

impress upon the viewer a creeping sense of both uto-

PETROS CHRISOSTOMOU

pian hopefulness and industrial uneasiness. In many of

*1981, LIVES IN NEW YORK

her works the world seems distorted and disarranged. A

born in London, Petros is now a resi-

Projections” work came as an offshoot of his “Night-

recipient of multiply study abroad grants, she will soon

dent on the International Studio and

walks” work, which projected a wilderness experience

Curatorial Programme, New York.

onto the urban landscape through a 5-night, uninterrupted,

be participating in her first American Museum exhibition at the Neuburger Museum (New York).

MELANIE BIEDERMANN

His photographs show small-scale, ordinary, ephemeral objects in architectural models that he constructs himself,

a primary concern is perception and landscape, informed through specific movement through place. His “Cloud

self-contained walk sans phone, money, ID.

*1985, LIVES IN BASEL

and staging conventions of the theatre. With the alteration

ANTONY MARK DAVID GORMLEY

After having studied the mechanisms

of scale and reversal of the relation between object and

*1950, LIVES IN LONDON

and complexities that communica-

environment, between imaginary and real space, he wants

Antony is a British sculptor. His

tion holds for society, Melanie gra-

to challenge the viewer's visual certainties.

works explore the relation of the hu-

vitated to slightly more flamboyant issues of life: she`s

and then dramatically arranges, often employing lighting

man body to space at large. Explicitly, in large-scale in-

completed her Master`s degree at the Academy of Art and

JEAN-PHILIPPE CORRE

Design in Basel and let fashion, art and writing become

*1980, LIVES IN PARIS

becomes a frame through which the viewer becomes the

her subject of attention. Nowadays, she`s interviewing

Works as an independant photogra-

viewed. By using his own existence as a test ground, Ant-

people from the industry for magazines that dig a little

pher in Paris. Having studied History,

ony transforms a site of subjective experience into one

deeper.

Theory of Information and Commu-

of collective projection. Additionally, he has increasingly

CEDRIC BOMFORD

nication and then Photojournalism he often tries to mix all

taken his practice beyond the gallery, engaging the public

these different approaches in his work, but not always. He

in active participation.

*1975, LIVES IN BERLIN

also works as a projectionist which has inspired some of

Cedric received an MFA from Malmö

his projects in means of technique and aesthetics.

Konsthögskolan in Sweden and a

stallations as well as implicitly, in works, where the work

BORIS GUSCHLBAUER *1973, LIVES IN BERLIN

THOMAS DEMAND

Boris used to be a graphic designer,

of Art and Design in Vancouver, Canada. Exhibited in-

*1964, LIVES IN BERLIN

but he abandoned this career long

ternationally, each of his projects develop as their own

AND LOS ANGELES

self-contained unit, as combinations of local, historical

Known for making photographs of

terested in writing and travelling. Although, he actually

and material influences. The

three-dimensional models that look

lives in Germany’s capital, he’s rarely there, since Boris

intention behind adopting this

like real images of rooms and other spaces, Thomas descri-

is always on the way. Loving adventures, he makes plans

methodology is to avoid a li-

bes himself as a conceptual artist for whom photography is

for the ascent of Nanga Parbat and follows his interests

near process and to focus on

an intrinsic part of his creative process. He began his career

for literature, grindcore and surrealism.

BFA from the Emily Carr Institute

LOTTO MAGAZIN CONTRIBUTORS 386–387

ago, because he is much more in-

www.ruine-magazin.de

KOEN HAUSER

FLORENTIJN HOFMAN

*1972, LIVES IN LEIDEN

*1977, LIVES IN ROTTERDAM

cally engaged, likes to go to impressionist museums, to

Koen is a multidisciplinary artist,

Florentijn refers to himself as “not an

watch new wave movies, to go to food markets and to

who works and lives in the Nether-

average gallery-exhibited artist”. For

travel.

as a PR-Manager in Berlin. In her free time she’s politi-

lands. He was educated in the Gerrit

him, the world is a huge playground

Rietveld Academie, Amsterdam, the Koninklijke Aca-

allowing him to choose just about any spot or material

IASSEN MARKOV

demie voor Beeldende Kunsten in Den Haag and stu-

to display his installations. His work is known for inte-

*1980, LIVES IN STUTTGART AND SOFIA

died Social Psychology at the Rijksuniversiteit Leiden.

grating and intriguing interactive installations into public

The architect, author, artist and lectu-

Koen was both nominated for Paul Huf Junior Award

space. Florentiin has a strong wish to amaze and getting

rer studied in Sofia, Bulgaria and at

and for Shell Young Art Award. Besides, he has already

people together, making life a little much more social.

the University of Stuttgart. He’s es-

worked as an art teacher, in a photography department

pecially interested in examining the connection between

and was Jury member for the Steenbergen Stipendium

SVEN JOHNE

in 2011.

*1976, LIVES IN BERLIN

this topic, called “5 Codes - Architecture, Paranoia and

LUCY HARRISON

Sven studied German Literature and

Risk in Times of Terror”, but also held lectures in London,

Language, Journalism and Onoma-

Nuremberg and Berlin on it. After focusing several years

*1974, LIVES IN LONDON

stics for one year at the University

on his theoretical work, Iassen now concentrates on buil-

Lucy Harrison’s work investigates

of Leipzig before he took up his studies in Photography

the subjective nature of the experi-

at the Academy of Visual Arts Leipzig in Prof. Timm

fear and architecture. Iassen not only published a book on

ding a commercial property in Sofia.

ence of place and connections bet-

Rautert´s class, where he finished his Master of Fine Arts

FILIPPO MINELLI

ween memory, location and architecture. Her work takes

(Meisterschüler) in 2006. In his word-image-cycles, films

* 1983, LIVES IN BRESCIA Fillipo is a contemporary artist

the form of photographs, bookworks, video and various

and photographic work Sven Johne conflates ostensible

forms of printed and published material. Her work “Fan-

documentary narration with an atmospheric selection of

connoting his artistic productions

tastic Cities”, published in 2003, is a collection of wri-

image material while turning his attention precisely to the

with interventions in public space.

tings by artists, of cities they have not yet visited, relying

essence of social phenomena.

only on the information they have gleaned from fiction, film and conversation.

JOCHEN HAUSSECKER

JONATHAN ALLEN LETHEM

He followed the first steps of the international “Street Art” movement and produces public performances and urban installations with the aim of subverting the aes-

*1964, LIVES IN CLAREMONT

thetical order of his hometown, Brescia. Traces of his

Jonathan is an American novelist, es-

presence can be found from the Italian countryside to the

* 1972, LIVES IN BERLIN

sayist and short story writer. In 1999,

biggest European cities, in South East Asia, from Mon-

After an apprenticeship as a media

Lethem won a National Book Critics

golian steppe to African deserts passing by the separa-

designer and longtime work as a gra-

Circle Award for “Motherless Brooklyn” and achieved

tion-barrier between Palestine and Israel. Moreover, his

phic artist, Jochen Haussecker stu-

mainstream success. In 2003, he published the New York

artworks are frequently featured in artistic books and he

died “Audiovisual Media” in Stuttgart. After his studies

Times Best Seller “The Fortress of Solitude”. In 2005, he

finished his studies at the Accademia dell Belle Arti di

he moved to Berlin, where he has been working in se-

received a MacArthur Fellowship. Right now, Jonathan

Brera of Milan in the New Medias for the Art Depart-

veral agencies as a freelancer. Alongside he still realizes

lives with his third wife, the filmmaker Amy Barrett, and

ment with maximum votes.

his own projects. His work shown in this magazine is a

their son, Everett in Claremont, California and teaches

reflection of the soul as a living world, a black hole, wit-

Creative Writing at Pomona College.

hout any connection to the outer space, the environment or society.

MARKUS MRUGALLA *1985, LIVES IN BERLIN

MARK LYON

The artist, graphic designer and

*1979, LIVES IN UPSTATE, NEW YORK

photographer Markus is originally

MISHKA HENNER

Mark’s inspiration stems from fin-

from Poland. He was born in Loben.

*1976, LIVES IN MANCHESTER

ding and documenting peculiar jux-

In 2007, he came to Germany to study Design at the

Mishka is a British artist and member

tapositions in everyday places. This

FH WS in Wurzburg. Since 2009, he is enrolled as a

of the ABC Artists’ Books Cooperati-

process often involves the act of rephotographing photo-

Design student at the University of Arts, Berlin. Markus already published several photographic books and

ve. He was a signature artist in “From

graphs. His series “Landscapes for the People”, looks at

Here On” (2011), a group show representing the new age

the use of romanticized wallpaper landscape photographs.

participated in a group-exhibition called “Lace” in Los

of photography at Les Rencontres d’Arles in France. For

These wall sized photographic murals seem to serve a

Angeles.

six of his bookworks Mishka was presented with the Klei-

psychological function, given their potentially intimi-

ne Hans award. Besides being nominated as Photobook

dating or banal locations, like dental rooms and laund-

CHRISTIAN MÜLLER

of the year by Photo-Eye his work “No man`s land” was

romats. Landscape murals allow the viewer an alternate

*1979, LIVES IN STUTTGART

also long-listed for the Paul Huf and Pictet awards. Forth-

mindset to nerve racking procedures or the mundane acti-

Actually Christian is a freelance sta-

coming exhibitions of Mishka will be visitable at Flowers

vities of everyday life.

ge director. In his plays he focuses on

Gallery in London, BlueSky in Portland and Open-Eye in Liverpool.

LOTTO MAGAZIN CONTRIBUTORS 388–389

people and their stories by delving

MAGALIE MABANDZA

into current social developments and conflicts. The text

*1988, LIVES IN BERLIN

“Become a pilot of your own living space” evolved from

Magalie studies Politics, Internatio-

a lecture he held in 2010 at the Center for Metropolitan

nal Relations and Public Communi-

Studies, TU Berlin. It was developed together with René

cations at the University of Stuttgart

Umlauf for the theory workshop “structure, collectives

and the Sciences Po Bordeaux. She’s currently working

and dispositive”.

VASCO MOURAO

with us. She finally has arrived in post-modernism as she

rious photographical series on the edge of politics, art and

*1979, LIVES IN BARCELONA

has been living in the same appartment for more than two

'daily routine' fashion. Overall through his work is a pinch

Vasco is an architect who turned into

years now. However, she started looking around again be-

of ironical surprising and subversive hint. Alexander won

an illustrator with a tendency for ob-

cause she knows: Home is where your heart is.

several awards for Art Directors Club Germany, in Can-

sessive drawings. Working mainly

nes and Clio and the New York Festivals.

with a pen and paper, he draws cities and other architec-

XAVER SEDELMEIER

tural meanderings. Originally from Portugal, Vasco now

*1959, LIVES IN STUTTGART

BORA TANAY

happily enjoys his life in Spain’s vivid capital Barcelona.

Xaver studied Communication Eco-

*1982, LIVES IN STUTTGART

In his work “The New Yorker” Vasco presents his distor-

nomy at HS Pforzheim and worked

Bora studied Visual Communication

ted view of NYC.

for several agencys before he founded

at the HS Pforzheim and worked for

EMMA NEUFELD *1980, LIVES IN STUTTGART Born

in

Tschkalows

his own company for communication and marketing in

different design agencies in Paris and

1990. With increasing interest he likewise began to consi-

Oslo. He defines his work as an examination of forms,

der the topic communication from an artistic point of view,

taking historical and contemporary informations into

Tajikistan,

as for Xaver art and design means to communicate and is

account. For his artificial projects Bora not only likes to

Emma moved to Ravensburg, Ger-

his way to “art”iculate. This notion also plays a role for

explore different media, but he also plays with the effect

many, at the age of eleven. After

his work as a functional art designer. Xaver was already

of light and colour. A fact also reflected by some of his

finishing school, she came to Stuttgart in order to stu-

on exhibition in Cape Town, Berlin, Vienna and Stuttgart.

works name, such as “Oslo Neon” or “Sirius Command”.

dy Arts at the Academy of Fine Arts. After sucessfully completing her first programme, Emma decided to study

CHRISTOPH SEEBERGER

FLOCO TAUSIN

Intermedial Designing at the Academy in 2012. Besides,

*1954, LIVES IN MUNICH AND BERLIN

*UNKNOWN, LIVES IN BERN

Emma is mother to a son, who was born in 2003.

After studying History of Art Chri-

Floco Tausin is not his real name,

stoph was trained as a photographer

but we do know that he is a gradu-

ERIN M. RILEY

in Munich. Since then he has been

ate of the Faculty of Humanities at

*1985, LIVES IN PHILADELPHIA

working as a freelancer, mainly focusing on landscape,

the University of Bern, Switzerland. Floco is, in theory

Erin is a tapestry weaver travelling

architecture, industrial, cars and interior photography.

around the United States with her loom in the back of her green pickup truck. Her base studio is in Philadelphia, PA but she

and practice, engaged in the research of entoptic (subjective visual) phenomena in connection with altered states

MARTIN SIGMUND

of consciousness and the development of consciousness.

*1974, LIVES IN STUTTGART

His interest is to strengthen the public awareness of the

can be found in Vermont, Nebraska, North Carolina, etc.

Martin studied photography at the

spiritual dimensions of entoptics like eye floaters, afteri-

weaving tapestries made from wool. Mostly known for

Lazi-Academy in Esslingen. With

mages, phosphenes, form constants etc., and to reconcile

her “party girl” tapestries, the History series is a calm de-

his camera he analyses alterations of

their physiological and spiritual aspects and explanations.

parture though similar, onlookers can be seen rubbernec-

society. He scans universal subjects such as religion, poli-

king in both occasions. She received her MFA from Tyler

tical participation or the European Union and searches for

MANUEL WAGNER

School of Art in Philadelphia, PA and her BFA from Mas-

different shades between the lines. As if untouched by the

* 1978, LIVES IN STUTTGART

events of the world Matrin´s images represent subtle ma-

His email signature usually contains

nifestations of a social structure and appear – for a lapse

the 25 latest songs of his office’s

sachusetts College of Art in Boston, MA.

TOMÁS SARACENO

of time – released from the flux of history.

*1973, LIVES BEYOND THE PLANET EARTH

playlist. He is devoted to both curating cooking recipes and putting mixtapes together. He is

Tomás, an Argentian performance

ALEC SOTH

and installation artist, creates large-

*1969, LIVES IN MINNEAPOLIS

scale installations that offer new

Alec is a photographer born and

tial, the unstaged every day life. Manuel’s knowledge of

ways of inhabiting the world. He studied Art and Archi-

based in Minnesota. Painfully shy

whizzy image manipulation unfolds in his work as a pro-

tecture at Universidad de Buenos Aires and Escuela Su-

in his youth, Alec still feels nervous

fessional photo editor. In his hotel room series, primarily

perior de bellas Ares Ernesto de la Carcova, absolved a

sometimes, when photographing people, but thinks that

published here, he explores the diversity of a same old

even more dedicated when it comes to his photography.

In his picture series he proves a keen eye for the essen-

postgraduate programme at the “Städelschule” in Frank-

his own awkwardness may also comfort others, as it is

situation: Business takes you to a random hotel somebody

furt and attended lectures at the UAV Venice. For his pro-

part of the exchange. His photographs have been featured

booked for you. Chance provides you with an opportunity

ject “Cloud Cities” he was inspired by the flexibility of

in numerous solo and group exhibitions. In 2004 his first

– Manuel takes his shot.

bubbles and spider webs.

monograph “Sleeping by the Mississippi” was published.

KATHRIN STÄRK *1977, LIVES IN STUTTGART The freelance journalist studied In-

Since then, Alec published several other photographic

BENJAMIN ZUBER

books and even started his own publishing company, Litt-

*1982, LIVES IN FÜRTH

le Brown Mushroom.

Firstly, Benjamin studied Media Studies and History of Arts at FAU Er-

ternational Business and Cultural

ALEX STEHLE

Studies and has moved almost a do-

*1966, LIVES IN STUTTGART AND NEW

academic career at the Academy of Fine Arts in Nurem-

zen times in her life. Born in Frankfurt she grew up in

YORK

berg, at HFG Karlsruhe and at AdbK Karlsruhe, before

Upper Frankonia, lived in Southern Bavaria and Berlin

Alexander began working as a de-

teaching classes himself at AdbK Nuremberg. Since 2010

with intermezzos in Jordan and Morocco before winding

signer and later as a concepter and

Benjamin is enrolled at the Academy of Fine Arts in Vi-

up in Stuttgart. Her studies obviously were not in vain as

idea-generator in agencies in Frankfurt, Munich and

enna. For his exhibitions Benjamin was nominated and

she shares her knowledge of site-specifity in modernism

Stuttgart. While travelling around the world he shot va-

received several awards, inter alia Noris art award.

langen. Afterwards he continued his

STAB CITY (LIMERICK CITY, CO. LIMERICK, EIRE)

BY JOHN STRUTTON

My mother she lived near a city That some look upon with great pity They say “for your life Or dispatched by a knife You’ll lie in the ground with the gritty” Not travelled this way have I been But this place in this way I have seen Through the words of outsiders Great picture providers A concrete communal latrine So let me attempt to describe This place that so many deride Of violent compulsion And signs in emulsion Revealing where traitors reside North of the county of Cork Where the river of Shannon do fork In a natural pit That’s full of dog shit Sits a city of dripping n’ pork Due to peculiar conjunction The weather it no longer function Time and again It persistently rain The priest calls it sod’s divine unction Built on a mound of the dead Where the starving had furtively fled Under trees tall and dark Peeling dog piss stripped bark Lies the rank flannel drunk’s crusty head The city ‘tis built on a spiral Of roads and of paths who end final In brick cul de sac Where the kids have the crack By pelting your door with urinal The streets vomit green and dishevel Built on a rectangular bevel The pavements descend To a shop at the end So that most live below the ground level

LOTTO MAGAZIN PLACES 390–391

Of concrete not made from ground stone They raised up their family home Ribs, chipped teeth and bits From carcasses stripped for Walls that were bound with ground bone

The houses, tall grey, window less Backyard, paving slabs in distress A line of brown washing Three kids, snot and coughing Sump oil on dolls head in dog mess

Where phone calls, quick love and a pee Take place under grey canopy You stoop to go under You’re safe from the thunder But dogs can still bite at the knee

All over the town there are clubs The Whippet, The Pride and The Scrubs Red carpet and crisps And a drink in both fists In a glass ringed with lippy and suds

The shop is the communal hub Where the kids they are sent off for their grub Sticky sweets for 5p What they have for their tea Fizzy string while their ma’s in the pub

The centre of town’s not too grand The market is known as “Black Hand” And under a bridge You can buy a cheap fridge From a man with a stitch in his gland

Now the night of the fry ends the week Cod chip mushies, three bells, lucky streak You are getting the fist in Coz someone’s been shiftin’ Your sad lonely wife of one week

The primary communication Is covered in dog defecation As nobody’s home Is equipped with a phone The council provide a location

Keys cut at a hundred heel bars By a lad with mosaic face scars It’s cheap on the street The price can’t be beat Rusty screws in tin cans and jam jars

They call it the town of the knife Stab slash puncture and wounding is rife Ye dead when ye twenty Ye mum cries aplenty For leaving three kids and a wife

IT WASN'T MEANT TO END LIKE THIS ARTWORK & PHOTOGRAPHY: JAMES DIVE - THE GLUE SOCIETY SCULPTURE BY THE SEA, DENMARK.

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