THE GRAMMAR OF THE INDEPENDENT ART SCENE GLOCAL PERSPECTIVES ON INDEPENDENT CULTURAL PRODUCTION
CHAPTER #1 KOREA BERLIN
TABLE OF CONTENTS
ART SPACES DIRECTORY EXHIBITION VIEW
5
MEINBLAU
9
ART SPACE HUE
GREETINGS
6
PAVILLON AM MILCHHOF
11
SPOR KLÜBÜ
FOREWORD
7
GALLERY LOOP
13
OPEN SPACE BAE
i-GONG
15
COMMUNITY SPACE LITMUS
17
ART SPACE PURL
25
L’ATELIER-KSR
33
19
ERRANT BODIES
27
O’NEWWALL
35
21
LAGE EGAL
29
ASIA CONTEMPORARY ART PLATFORM & BERLINERPOOL
37
23
DISTRICT BERLIN
31
ACKNOWLEDGMENTS, CREDITS, SUPPORTERS
41
EXHIBITION VIEW: PHYSICAL DOCUMENTATION EXHIBITION VIEW: MASTER PLAN
GREETINGS
Since 2012, Asia contemporary art platform NON Berlin has been aiming to raise consciousness on modern times by breaking away from Western-oriented theories and creating extensive discourses that cover Eastern and Western philosophy and art. The Grammar of the Independent Art Scene. Glocal perspectives on independent cultural production. Chapter #1: Berlin/Korea> is a comparative research of 14 Korean and Berlin art spaces that aimes at providing a substantive and lasting connection between the Asian and European art field. Thus, it is not just a simple delivery of information, but an extensive archival study upon independent cultural production and the dialogue that surpasses the art spaces from different continents. Being the first joint international exchange project of Asia contemporary art platform NON Berlin and Berlinerpool Arts Network, we expect this exhibition to be a springboard for establishing a close relationship among Korean, Asian and European art. Ido Shin Director - NON BERLIN
In the past nine years, the research projects of Berlinerpool have continuously been changing the contexts of its activity. Be it a participation in a museum exhibition, an archive station in the Berlinische Galerie, an artist’s studio or a project space. The location became a motivation to draw synergies between the topics, work methodologies and theories. Meeting and moving in with NON Berlin created a point when we could establish a dialogue between two self organized networks from different continents. The first attempt to get to know the context and values was the study and exhibition project - The Grammar of the Independent Art Scene. Glocal perspectives on independent cultural production. Chapter #1: Berlin/Korea. The book you hold in your hands is thought not as a final work but as a rider for future projects that we are looking forward to. Andrej Raszkyk Director - Berlinerpool
6
The Grammar of the Independent Art Scene This exhibition proposes the use of notions derived from grammatical analysis as an interpretative tool to read the operational and conceptual complexity surpassing independent cultural production. Grammar here signifying the “rules of relationship between elements that make meaning possible, communicative and interactive”. For the first chapter of our research, we equated the behaviour of independent clauses in the formation of grammatical sentences with the dynamics of 7 selected independent art spaces from Berlin and Korea. We broke down a sentence structure taking the 14 spaces as subjects or nouns of the phrase (NP = the do-ers, the agents), and we analysed their motivations, missions, visions and programs as logic semantic units formulating a complete verbal predicate (VP). We started this project by wondering about what moves them? Where do they lay an emphasis on? For whom are the actions (of this verb) performed? How do they do it? Soon we established syntactic parallels for each of those questions, enclosing their answers under metaphoric shapes of Verbs (V), Direct Objects (DO), Indirect Objects (IO) and Object Complements (OC), branching from that initial verbal predicate (VP). We couldn't ignore the importance of the manner in which they strived for survival, how did they manage their resources and what it meant in terms of identity to subordinate those resources in a complex net of interdependencies embedded in the contexts where they operate. We disclosed those topics in the form of adverbial clauses (Advs), circumstances given in their respective geographical/ financial/generational environments that modified or conditioned their original goals to some extent.
By looking at their projects, we noticed an initial phase of self determination -deeply rooted in their clear visions of what alternative once meant, -- how they wanted to contribute to the articulation of a diverse but strong independent art scene. But progressively after the second half of the 2000s, they opened up incorporating other sentences or independent clauses, coordinating those resources in conjunction with other bodies (coord.conj), other personalities (larger) to arrive at the same goal with a higher ambitions and capacity to engage. These two angles of cooperation, adjacent (subordinations) and juxtaposed (coordinations with other networks) pretty much determined the whole way in which these organizations tried to convey their meaning, trying to make it (in both a grammatical and literal sense), “possible, communicative and interactive”. On the way, the concrete endeavours and formats realized and developed by these organizations have put together a whole vocabulary inextricably linked to the identity of the cities where they operate. A necessary dictionary for insiders that everybody should look at when trying to understand and take the pulse of their respective local art scenes. Paz Ponce Pérez-Bustamante Chief Curator (Berlinerpool)
8
MEINBLAU from 1990 type NPO
MEINBLAU Project space, Atelierhouse / Studio, Association The MEINBLAU project room is a location made by and for artists. Founded in 1997 on the Pfefferberg in Berlin, it provides 125 m2 of exhibition and activity space on two levels being surrounded by ten studios. Since its EU-funded renovation in April 2005, the MEINBLAU project room pursues long-term co-operations for the support of young artists with partners from the independent Berlin ART scene, such as the singuhr-hoergalerie, international cultural institutions and art schools. The MEINBLAU project room also enjoys long-standing collaborations with the Kulturamt Pankow and the Pfefferwerk Foundation.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
COLLECTIVE, CURATORIAL BOARD, EXTERNAL PROJECT INITIATIVES
BY INVITATION BY MEMBERS BY MEMBERS’ INVITATION BY APPLICATION / PROPOSAL
10 / YEAR 3 WEEKS
9
www.meinblau.de CHRISTINENST. 18-19 10119 BERLIN
Context Meinblau project space was founded in 1996 by 7 artists who squatted the empty storage hall on Pfefferberg, a brewery areal. They built in studios around the exhibition space in the middle. Since then it is open to a wide range of project initiatives by artists or curators, only 2 out of about 10 projects are done by Meinblau members. This space was and is a contribution to the free art scene that experienced at this time a lot of mistrust - cultural life was shaped by boundaries between “high” and “low” culture. This influenced not only the atmosphere among artists themselves (high competition level) but also people like our landlord who gave us an exhausting time and always the feeling to be thrown out next month. But some people endured it and luckily a few were at Meinblau who acquired a EU funding for the renovation 2005, given mainly for the studios, the first building on Pfefferberg. Position From the beginning Meinblau was run by artists for artists from a diversity of (trans)disciplines. Focused on political and social relevant art, we could afford to show all projects for free because we also had a proportional support by the Pfefferberg Stiftung for the rent (creating “workplaces” for artists). Since about 2007 the gentrification started to be fully visible in a rapid speed and we are now the last people renting on the yard. I guess by 2009 we were overwhelmed by these changes, fortunately we could
show a lot of projects from externs and interns, but the inner feeling I would describe more like drifting. It was only when we joined the network of free Berlin project spaces in 2011 that a fresh breeze blew through the space. Generally I would describe the shift from a colourful variety of single art projects towards a collective awareness of art production in town. Dynamics Project proposals from externs and interns are collected during the year for the next season - in about 2-3 sessions we decide democratically what to show, criteria vary each year, as we are open to a wide range of projects. We prefer social and political contexts but it is not forcing. We support young artist and curators, but are also delighted when established artists have a brilliant idea how to present in our space - which is not easy to cope with. as we pay ourselves the rent for the space, nowadays not funded, we have to chose some projects that can or have the chance to be financed - proposals reach us most of the time because people visit the space. some through website Vision At the moment: dreaming of Seoul.
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PAVILLON AM MILCHHOF from 1998 type NPO
PAVILLON AM MILCHHOF Project space, Atelier house, Residency, Organization Since 2009 the aim of Pavillon am Milchhof is to establish its location as a place for experimentation, co-existing in parallel with the studio house, which is a Berliner melting pot of diverse traditions, positions and a place of fruitful artistic production. Pavillon is used not only as a classical exhibition space, but its bold minimal style allows for radical presentation formats – Performances and video installations play with inside and outside perspective – podium discussions, concerts, sound installations and even temporary live-in studio space arrangement are note excluded.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
COLLECTIVE CURATOR TEAM
BY INVITATION BY MEMBERS BY MEMBERS’ INVITATION EXCHANGE
30 / YEAR 10 DAYS
11
www.milchhofpavillon.de SCHWEDTER STR. 232 10435 BERLIN
Context Milchhof e. V is a studio community that was founded in 1991 in a former dairy in the Anklamer street in Berlin-Mitte and uses since the move in 2004 an old school house on the Schwedter Str., a few hundred meters away from the old location. Here today work more than 40 artists - painters, draftsmen, sculptors, photographers, video and performance artists, dancers, musicians and composers, choreographers, directors - as well as documentary photographers and journalists. In the former location at representative chambers and basement (until 2004), Milchhof hold open atelier days which were part of the architecture of the city. Especially famous became the Pasteur chamber. There took place already legendary exhibitions, concerts and festivals forming a hot spot and melting pot of the Milchhof artists’ community, art scene, neighbours and tourists. What eventually coined the identity of the NGO. Dynamics The House has, after some renovations, 40 artist studios, rehearsal rooms and working areas over four floors, which are allocated in coordination with the bbk Berlin. Vacant places are shown and administered by bbk’s Atelierbüro (atelier office), where interested parties can directly submit their interest. A guest studio with an area of 56 square meters, furnished with kitchen and shower is offered for short term rentals, directly managed by the studio community of
Milchhof Pavillion. Since 2009 Pavillon am Milchhof exists as the new experimental platform for the Studio Community. The exchange of artistic positions and discussion in the community plays an extremely important role – as well as the contact with the public. The decision to built the Pavillion was taken democratically by the Milchhof Community, and the budget was raised from among the tenants. Artist of the studio community, guests and invited applicants from Germany and abroad can exhibit here. In the old auditorium take place events of the studio community and the rehearsals and performances of onairproductions. Position The Milchhof Pavillion is where the artists operate in the aesthetical discourse, influence the city self-awareness and intervene in the urban space. By exhibiting art works at the close distance to the studio spaces and showing it to the colleagues and public, the artists have a possibility to receive an intense feedback.
12
GALLERY LOOP GALLERY LOOP Project space, Archive, Gallery Established in 1999, Loop is an independent and non-profit alternative space receiving funding from both government and private sectors. Loop mainly aims at communicating with the public and supporting young artists of various art forms, such as visual art, movie, music and performance. Loop also manages academic chairs and tries various programs such as web art workshop to encourage theory and art practice.
from 1999 type NPO
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
APPOINTED CURATOR
EXTERNAL PROJECT INVITES BY INVITATION BY APPLICATION/PROPOSAL
10 / YEAR 1 MONTH
13
www.galleryloop.com 20, WAUSAN-RO 29NAGIL, SEOGYO-DONG, MAPO-GU SEOUL, KOREA
Context Setting out in 1999 in Sangsu-dong and then moving to a basement in Seogyo-dong, Gallery Loop has entered a new chapter of its history starting from 2005. Loop plans to expand size-wise; however its very first commitment for suggesting alternatives for Korean Art scene remains the same. Loop will keep sticking to its foremost responsibility of defining alternative Asian art and culture by confronting Western-oriented globalization. In addition, Loop plans to set up a new platform for the Asian contemporary art industry, and promote an art market that is dynamic yet upright. Loop objects to an alternative for the sake of an alternative. With clear vision and mission, Loop will become a truly alternative space that challenges the mainstream art institutions. In order to advocate artists to produce more and better quality works and also to define identities for Asian contemporary arts, Loop will continue to, - Search for Young Emerging Artists - Promote connections between visual arts and other genres - Establish international networks of alternative spaces - Support creative activities and exhibition environment
14
i-GONG
iGONG Gallery, Research House, Archive, Organization Alternative Visual Culture Factory and Media Theater i-Gong was founded in 2002, with an initiative to break away from the commercial and fixed visual art/ media/film culture. Under the motto of ‘Play+Art+Action,’ i-Gong screens and exhibits alternative films and media art.
from 2002 type NGO
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
CURATORIAL BOARD
BY OPEN CALL FOR ARTISTS BY OPEN CALL FOR CURATORS
8 / YEAR 2 WEEKS
15
Context The name ‘i-Gong’ is a combination of two words in different languages. The first letter ‘i’ is the ‘I’ in English while the latter ‘Gong’ is a Chinese word written ‘空’ with the meaning ‘empty/vacant.’ However, since 2011, an additional meaning has been added to the letter ‘Gong’ which is another Chinese character ‘共’ meaning ‘together.’ The latter description indicates i-Gong’s plan to take action towards human dignity and equality and break from gender, race, social/educational status, sexual orientation discrimination.
www.igong.org 2F, 48-5, WAUSAN-RO 29-GIL, SEOGYO-DONG, MAPO-GU SEOUL, KOREA
Media Theater i-Gong, i-Gong publication and the i-Gong Alternative Media Art School. Vision i-Gong believes that every human has a right to be respected. i-Gong’s corporate philosophies are to raise questions to the current mainstream culture which lacks diversity and to support non-mainstream media that can create common understanding for the minority culture.
Dynamics One of the programs, ‘Alternative Media Genre Movement’, of the Seoul International New Media Festival encourages people and artists to overcome conventional limits and establish their own originality and characteristics. A completely new culture, against cliched and institutionalized art market, is expected to be developed through this program. More than 50 programs of various genres such as film poetry, rhythm film(media symphony), film performance, video essay and kitsch b-movie are being organized by i-Gong in order to bring new ideas to the stagnant Korean art scene. Position i-Gong wants to create a platform for the future generation where the minorities are embraced. In order to achieve this vision, i-Gong operates various alternative business projects such as the Seoul International New Media Festival,
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ART SPACE HUE from 2003 type NPO
ART SPACE HUE Gallery, Residency Artspace Hue is a non-profit exhibition space established in 2003 and discovers unknown creative/experimental artists. Throughout periodical changes and circumstances, Artspace Hue provides a new alternative platform for promising artists. Having been relocated from Seoul to Paju Book City in January 2011, Artspace Hue has maintained its commitment to establishing professional artistic networks between Seoul and the rest of the Korean contemporary art scene to broaden the boundaries for young and developing artists.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
APPOINTED CURATOR DIRECTOR
BY INVITATION
8 / YEAR 1 MONTH
17
E www.artspacehue.com 302, 68 GWANGINSAGIL, PAJU BOOK CITY, GYEONGGI-DO SEOUL, KOREA
Context Kim, Noam, currently working as one of the steering committee members of Art Space Hue, was a founding member and director of the gallery from 2003 to 2012. He took part in a visual art program in Seoul Fringe Festival from 1999 until 2005. As the festival grew larger every year, more exhibiting spaces were needed and Noam Kim opened Hue in April, 2003, for the purpose of being not only an additional Seoul Fringe Festival exhibition room but also an entry path for young artists. The beginning of the new millennium was dynamic. Artists were eager to see things differently and come up with works that did not exist before. Young curators and artists discussed over the necessity of alternative art environments and this spread throughout the Korean art scene. However, the total number of art spaces was insufficient, not to mention spaces that were operated flexible enough to accustom to the transition. Art Space Hue was opened in this very situation to introduce young talented artists who have the ability to propose new and characteristic concepts and images but overlooked by the Korean art market. Dynamics Hue first scouted and supported fresh art school graduates. In parallel, Hue provided art critic groups with the space to develop their ideas or to organize mutual exhibitions. The Korean art market expanded from 2005 to 2007 and thus, too many and vast alternative concepts emerged, making it overwhelming for young artists to handle. Hue concentrated on organizing additional projects with more experienced artists who shared a critical view on social and contemporary art.
As the importance of networking grew within the art market, Hue joined the Nonprofit Art Spaces Network(NASN) and has been participating as an active member. Decisions are made in cooperation with fellow directors and outside consultation from specialists. Art directors, project managers and artists give diverse opinions about ongoing issues and extend certain ideas to establish a proper project theme. At the early stage of opening, artists or projects were often selected through open calls. From the early years of 2000 and now, artists are frequently selected through consultation or recommendations from experts. However, Art Space Hue is basically open for everyone from recent graduates to professional artists. Position Art should always be independent, self-sustainable, characteristic and creative for both rising and experienced artists. It would be better if the artists inspire the society with meaningful contents. It is important in cities or countries where the contemporary art scene is vibrant, that there is stimulation, change and transformation that crisscross institutional and non-institutional sectors. Vision Hue focuses on creating network between many artist groups and organizations in order to share visions. Hue plans to play an inspirational role in transition of the Korean art scene.
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SPOR KLÜBÜ from 2003 type ARTISTRUN SPACE
SPOR KLÜBÜ Project space Spor Klübü is a platform for artists, enabling them to bring their work and projects on direct and non-bureaucratic way to an interested audience - one of processes interested place where experiments are welcome and statements can be formulated freely. The focus is “classical” solo exhibition. In no other format artists have better opportunity to articulate their positions clear and to act free. Spor Klübü is also open to concepts already curated and group exhibitions as well as for third party projects and maintains annually its own large-scale thematic group exhibition.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
ARTIST-CURATOR
BY INVITATION
8-10 / YEAR 9 DAYS
19
www.koloniewedding.de FREIENWALDERST. 31 13359 BERLIN
Context I was lucky to find a space that was supported by a housing company and powered by a local community management (Quartiersmanagement). The goal was to have exchange with other artists, their works and other project spaces and to build up a network, which connects me with the Berlin art scene. In 2003 the climate in Berlin was of course more open, than it is in 2014, but it totally depended on where you’ve been located. It was almost unbelievably that nobody wanted to move to Wedding when you watch the whole city, a very central district - with a social program providing space for artists just paying the running costs for good sized renovated shops. In other districts things like that happened too at that time or later, but only temporary. With Spor Klübü I founded a program aiming to help artists to find room for presentations/exhibitions on a often spontaneously and direct basis. Position My perception has not changed. There are still the same needs. For instance I had a focus on solo exhibitions from the beginning on. That hasn’t changed at all, maybe it’s even more in my focus, because it’s very hard in a city like Berlin to find a place for a solo show also in the so-called “Off-scene”. You can pretty easy figure out, that the “Off-spaces” in the most cases work on the same level like institutions or commercial galleries concerning the quality of the shows and the
artist’s work. I would even say sometimes above, because they are really good connected to the artist’s scene and mainly runned by artists (and curators). So they have a good sight on what is happening very actual and can be more political. Spor Klübü is an active member of the “Kolonie Wedding”, a project area network, and the “Network of Berlin Independent Project Spaces and Initiatives”. Dynamics Because it’s just me running the space it makes things much easier getting along with a program. I can use the time that I’m saving out this and spend it with the artists that I’m working with. So the process to get the show happen get’s more intensive and is discursive from the beginning. The decisions I make result from getting around in the city, meeting people on openings and being part of an artist’s network. But it’s not only me making decisions. Artists and curators come to me with the wish to get something going together. My wish would be, that all makers of project spaces get a public support, that they can also generate an income out of this work, that they normally do for free. The work of the project spaces contributes to the cultural life in - and image of Berlin. We work not market-oriented and uncommercial. The same thing for the artsists and curators: They need fees too.
20
OPEN SPACE BA from 2006 type NPO
OPEN SPACE BAE Project space, Residency, Organization Open Space Bae was founded in 2006 in Busan, Korea, by local artists and activists. It was built to realize the possibility of an artistic space in nature, with a different point of view from art organizations based in a city. Bae is a non-profit and private organization run by donation from many artists, Arts council Korea, and the Busan Cultural Foundation. ‘Bae’ in Korean has manifold meanings; a pear, a ship or double. The name itself signifies the location of the space in the pear orchard, locality of Busan as a harbor city and promotion(double) of art.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
CURATORIAL BOARD
BY INVITATION BY MEMBERS’ INVITATION BY OPEN CALL FOR ARTISTS
13 / YEAR 1 MONTH
21
AE www.spacebae.com SAMSUNG-RI ILGWANG-MYEON, GIJANG-GUN BUSAN KOREA
Context I tried to encourage young artists to experiment and create a discourse about visual art despite the poor circumstances at that time. Since I was cooperating with local artists, Space BAE was suggested as a new model. There was no particular motivation in the beginning. The art scene back then was in such a poor condition I had to find a way to solve how young artists can have a chance to create their artworks. That is why I made a goal to promote an organization. 10 years ago, there was not one gallery interested in local art. Only a few commercial galleries were there in Busan. The situation has definitely changed since then but is still difficult to open an exhibition in art museums as a local artist. Space Bae tries to suggest a new policy and system that could become a new platform for artists where healthy discourses develop.
is important to be aware of a ‘system’ and we need to be critical towards art policies. Space BAE focuses more on finding the alternatives at the current situation (political/cultural) than independence. I am one of the people who are very aware of art policies and glocalization. Therefore, Space Bae is naturally very active towards criticising art institutions. Vision My aim is to build a strong foundation in different locations so that local artists are able to think freely and create.
Dynamics I have been working internationally. I am also interested in glocalization. I believe Space BAE will be a platform for local artists to connect internationally as there are numerous events happening between Busan and other cities abroad. To reach a final solution regarding a project, there is an internal process of discussion at Space Bae. The final decision maker is the director, I, but that is just because I am the director of this organization. Position I suppose I am still thinking what ‘alternative’ means. It
22
COMMUNITY SPACE LITMUS from 2007 type NPO
COMMUNITY SPACE LITMUS Project space, Residency, Research Center Community space Litmus was established in 2007 as a place where the people who run it, such as artists, critics, exhibition planners, social activists, workers, and immigrants, could experiment with forms of art. Located in the ‘Borderless Village’ at Wongok-dong, Ansan city, Korea, Litmus reflects the multi-cultural personality of the area, where up to 80% of the population is immigrants. Litmus was established in this area to create and exchange culture by developing and operating various programs, respecting each other’s differences, and creating a space where people of various nationalities and ethnicities can meet using culture as a medium.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
DIRECTOR
BY MEMBERS BY MEMBERS’ INVITATION BY OPEN CALL FOR ARTISTS
10 / YEAR 2 MONTHS
23
Context Located in Wongok-dong, which nickname is ‘the borderless village,’ Litmus reflects the town’s multicultural personality where more than 80% of the residents are from different countries. Litmus is a space where these residents from diverse cultural backgrounds can exchange, understand and bind with each other as community members. Various cultural programs are developed and carried on in order to do so. Artists from many different art fields are invited to participate in multiple crossover activities. Litmus believes that through these activities, participants will be able to perceive art and academics from a holistic point of view that are not totally separate categories and furthermore, propose alternative ways to lead one’s life in this modern world. At Wongok-dong, Litmus initiated many projects from a multicultural point of view. Afterwards, however, Litmus gradually shifted to a rather inter-cultural viewpoint. What is more important is how different cultures communicate than knowing and accepting the existence of different cultures. Dynamics Initially, Litmus emphasized on becoming an independent space. However, nowadays the focus has moved on to binding together or organizing joint projects with other spaces. The issue we are now focused on is to seek the possibility to stay connected with the new flow without being closed. Community Space Litmus has been networking with alternative spaces, experimental artists/ artist groups in various Asian countries and also has been organizing many projects with local immigrant communities. Litmus is a place where opinions or ideas in contrast meet and clash. This process itself gives participants to create, express and bind together. Different thoughts are thus exchanged, shared and accepted which in the end, offers a new and alternative cultural production in Wongok-dong.
Position Litmus names, defines, reviews and revalues the tangibles and intangibles that exist in Wongok-dong to keep the community sustainable. Getting rid of boundaries and playing with opposite or contradictory thoughts and ideas are the best ways to provide Wongok-dong with new cultural products. Sometimes there is a need for a group or community where creative and experimental artists or individuals gather to express their new thoughts and ideas. Community Art Space Litmus aims to become this very community that is open not closed or standardized where participants and their ideas keep the community ‘alive.’ Vision 1) to be a space that bridges the contemporary art scene, 2) to work on projects that represent the local community, 3) to question Art as a public character, 4) to run the alternative arts academy 5) to network internationally with a parallel approach, 6) to diversify cultural connections and keep track on the changing society and culture.
www.litmus.cc 2ND FLOOR, 758, WONGOK-DONG, DANWON-GU, ANSAN-SI, GYEONGGI-DO SEOUL, KOREA
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ART SPACE PURL from 2009 type PROFIT ORIENTED
ART SPACE PURL Gallery, Research Center Art Space Purl was established in September, 2009, attached to the gallery of the Korea Contemporary Art Institute. ‘Purl’ in Korean has a meaning of ‘wide and flat land’ and is often used when you feel the vibrant energy. Art Space Purl wishes to discover and meet artists in this wide and extensive art scene, not to mention to become a road where creators and appreciators communicate. As an independent curator since 1997, Kim Ok Real, representative of Purl, puts emphasis on creating an exhibition space where a variety of art culture exist and developing together with young and established artists.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
APPOINTED CURATOR
BY INVITATION
5-7 / YEAR 1 MONTH
25
L www.artspacepurl.com #4F, 705-6 SUNGDANG-DONG, DALSEO-GU DAEGU, KOREA
Context To Art Space Purl, the most active way to criticize the current is through exhibition planning. From the beginning, Art Space Purl had put a decent amount of effort to connect or perhaps narrow the gap between the theory and the actual scene(reality) in Art. Art Space Purl considers that the 21st century contemporary art scene is based on interaction or communication. Thus, the most meaningful action will be to keep on accepting and sharing the ‘new’ and not be stagnant. In order to have impact in the art scene, it is essential for local art spaces, which are physically far away from the art capital(In Korea’s case Seoul), to continuously discover and develop cooperative and interactive programs that apply to the area. Since 2009, when it was established, Art Space Purl has been continuing to create more opportunities for local artists. Art Space Purl aims to become a space that connects different areas, a base where people meet to exchange and a place where passion and purity co-exists.
Amid this general atmosphere, Art Space Purl decided to focus on local artists that can eventually strengthen the local art infrastructure which was in need. From then on until now, Art Space Purl continuously pursues to become a communication point between local areas, creator and the public and also the people who actively participate in the art scene. Dynamics Art Space Purl basically communicates through exhibitions and here, there is no orientation towards an immense discourse or a global trend. At Purl, there are discussions about the exhibition theme and people focus on finding the meaning it at that current time. Vision As an independent space, Purl does not receive any support or donation from corporate or organizations. Thus, quantitative growth cannot be expected. However, Purl focuses on the project concept and contents.
Position There was neither a specific goal nor outcome we pursued when Purl was established. In the beginning, we were concerned of the purity of Art and we felt there should be a more active way to become independent as an alternative space. Already, at this time, several alternative spaces in Korea had joined the ‘main system’ and the people who worked independently had failed to break away from corporate donation.
26
ERRANT BODIES from 2010 type COLLECTIVE
ERRANT BODIES Project space, Publishing house Errant Bodies is a project space dedicated to experimental work primarily in sound, text, and spatial practice, integrating performance, fieldwork, and contextual research. Through residencies, workshops, events and exhibitions, Errant Bodies emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin and its artistic communities. It is managed and developed through its working group, which is comprised of Berlin-based artists and researchers.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
COLLECTIVE
BY INVITATION BY MEMBERS
15 / YEAR 1 MONTH
27
Context Errant Bodies is an independent press and project space located in Berlin. It has been developing publishing projects since 1995, originally in Los Angeles, with its main editors and organizers Brandon LaBelle (Berlin), Ken Ehrlich (Los Angeles) and Octavio Camargo (Curitiba). Since 2010 Errant Bodies is also a project space in Berlin, dedicated to experimental work in text, sound, performance, and spatial practice. It is the aim of the project space to foster a social and cultural platform for generating points of local contact and international exchange on contemporary artistic topics. Through residencies, workshops, presentations and exhibitions, Errant Bodies intends toward experimental research culture that crosses between academic work and artistic production.
S www.errantbodies.org KOLLWITZST. 97 10435 BERLIN
Method Errant Bodies also aims to consider the specifics of location, media and modes of address, and the co-productive details generated from cultural work and its place. This is developed through site-based research, collective actions and collaborative projects that occupy both the project space as well as the space of publication. This allows for ongoing experimentation in artistic practices as well as the discourses that surround such practices.
Perspective Since its inception, Errant Bodies has been dedicated to supporting diverse discourses and projects in the fields of sonic and spatial practices, auditory culture and performativity, experimental writing and critical thought. Its publishing activities are developed through a number of series: Critical Ear – on sound and media art, Doormats – on experimental modes of being-political, Surface Tension – on sited work and the built environment, among others. The act of publishing is a central platform, which allows for generating international dialogue as well as documentation of often underground work.
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LAGE EGAL from 2010 type PROFIT ORIENTED
LAGE EGAL Project space, Produzentengalerie, Atelier house / Studio, Publishing house LAGE EGAL is a independent off space, run by the french artist, curator and co-founder (2010) Pierre Granoux. Beyond the use as an artist studio is LAGE EGAL a place to experiment differents forms of displays in close collaboration with artists and guest curators. LAGE EGAL can be read from both sides making it a perfect name for an art space, Pierre Granoux organizes exhibitions not only in the original space but in differents locations, private or public spaces, in Berlin or elsewhere. “Location doesn’t matter” (German, Lage Egal): the quality of the artists is what really matters to him.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
ARTISTIC DIRECTOR APPOINTED CURATOR
BY INVITATION BY OPEN CALL FOR ARTISTS BY OPEN CALL FOR CURATORS
12-14 / YEAR 4-6 WEEKS
29
Context The project originated from the newly established artist studio. Its favourable design and location as well as the lack of project-spaces to exhibit art outside Ateliers in Berlin, inspired its step-by-step development to so-called artist- run-space. The aim was to organize a perfect and professional interior, to give the art a chance to be shown in better surroundings and to broader and more distinguished public, than it is usually possible in the studios. Furthermore, to offer the artists a refreshing and inspiring “distance� to their works by presenting them in different contexts, for example in white cube or in correspondence with works of other artists. The wish was also to work with the mechanisms of presentation and marketing of artworks in an experimental and playful way, as well as to provoke and deal with the corresponding discussions. www.lage-egal.de DANZIGER STR. 145 10407 BERLIN
Dynamics The exhibition is a creative act that repeatedly provides the audience with new ways of viewing art. New exhibitions provide in turn new audience and contribute to the expanding of the contacts network. In such constantly growing circle of friends it is accustomed to come across inspiring ideas and interesting people to work with. The guest curators are given free rein to realize their projects.
work outside the commercial art market and the institutional mediations and to provide guest curators with an experimental space. It means being opened to new ideas and possibilities as well as being able to react swiftly to the feedback given by the audience and to respond flexibly to the changes and needs of the cultural scene. LAGE EGAL adjusts through, constant specializing, defining and redefining the focus but also broadening the scope, all that in cooperation with different artists and curators. It is, for example, distinguished in its approach to experimenting with exhibition formats. Like in a laboratory, forms of presentation are tested, documented and presented to the public. Vision The plan for the future is to work even more professionally, reach broader audience and keep extending the contacts network with the help of new software and tools that the modern technology has to offer.
Position Being alternative and independent means giving the artists an opportunity to show their
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DISTRICT BERLI from 2011 type NPO
DISTRICT BERLIN Project space, Residency, Organization District Kunst-und Kulturfรถrderung is a space for contemporary cultural practices and research at the intersection of art and other fields of knowledge. In collaboration with local and international cultural producers, other organisations and diverse audiences, District realises art projects, exhibitions, discursive and performative formats, interventions in public space and engages in education as co-production. Taking its de-central location as conceptual premise, District engages into perspectives which are currently at the margins of political and cultural (self-)representation.
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
CURATORIAL TEAM COLLABORATORS
BY INVITATION BY OPEN CALL FOR ARTISTS BY OPEN CALL FOR CURATORS
15 / YEAR 2 MONTHS
31
IN www.district-berlin.com BESSEMERST. 2-14 12103 BERLIN
Context District was founded in 2010 as a space dedicated to experiment and co-production with a view to rethink the notions of urbanity, utopia and sustainability. Shaped by artistic directors Susanne Husse and Ulrike Gerhardt (until 2012) with a group of collaborators District developed into a place where contemporary cultural practices and research at the intersection of art and other fields of knowledge is more closely connected to the social, cultural and historical diversity of urban environments in the Tempelhof- Schöneberg area. With its focus on the shared exploration of current developments out of this defined local situation, District offers a necessary platform not only for new approaches towards contemporary artistic practice in urban space but also for the co-production of spaces of knowledge, experience and sharing beyond disciplinary, social and cultural boundaries. Position Over time, we have taken our de-central location more and more as conceptual premise to engage into perspectives which are currently at the margins of political and cultural (self-)representation (like in “dissident desire” since 2013 or “The Forgotten Pioneer Movement” 2014) and work to investigate tactics of enunciation and infiltration. Moving in hybridity between a project space, a cultural organisation and a (radical) community of interest, our program is defined by an interest to think the
art space as place, where concerns, critique and ideas can be expressed and negotiated .Through the studio grant for artists who identify as women and the studio program for young cultural producers, our aim is to build a support structure and to open room for long-term dialogues between artistic, curatorial, research and educational practices. Dynamics We aim to integrate our commitment to the experiment in the everyday work and in the broader framing of our program. In each of our projects and collaborations the micropolitics, the tactics of decisionmaking and modes of disagreement are negotiated anew. This is not necessarily the most „effective“ way but we believe that this possibly creates the grounds for alternative political microcosms and ways of relation to each other. Each project starts as a collaboration either through research, the encounters within a wider community of interest, a longer term conversation, or a proposition from known and unknown sides. Vision The biggest dream is to be able to continue this experiment called District, to risk alternative visions to the present through cultivating the unexpected and the paradoxical and to see where these visions might lead to (while not taking everything too serious).
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L’ATELIER-KSR from 2011 type NPO
L’ATELIER-KSR Project space, Gallery / Produzentengalerie, Residency L’Atelier–ksr is a gallery and a project space based in Berlin-Kreuzberg, founded by its director Stefania Angelini in 2011. L’Atelier-ksr represents international artists through solo shows and art fairs; It also acts as a platform, INVITING guest curators twice a year and hosting a residency program focusing on experimental formats through works in progress. Its 160 M2 space, divided in two floors, offers accommodation to the residents as WELL as full access equipments, while the basement permits scheduling live concerts. L’Atelier-ksr develops its artistic line around visual ARTS, encouraging on-going research, including performances and sound practices. Represented Artists: Benjamin Laurent Aman (FR), Renata HAR (BR), Daniela Huerta (ME), Nicolas Puyjalon (FR) and Clémence de La Tour du Pin (FR).
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
APPOINTED CURATOR DIRECTOR
BY INVITATION
8 / YEAR 1 MONTH
33
Context I arrived in Berlin in November 2010. I was coming from Paris where the artistic scene was, at that time, really narrowed. Institutions - whom plays a great role in France - were doing good but the galleries were definitely too snobbish. There was no place for the experimental. I had in mind few principles on which I thought art had to be based and I couldn’t find them in Paris. I was, at that time, sure I would never come up to the gallery world. What a surprise when I got here…! I found myself right away in this panorama and decided this would be the right place to start experiencing art. I was submerged by excitement and inspiration. I still am thanks to this city - and its inhabitants, really.
www.latelier-ksr.com GROSSBEERENTR. 34 10965 BERLIN
Position L’Atelier-ksr will be 3 years old in September 2014. Tons of things have change in my mind since then. A lot have been already put in practice but much has been rethought lately due to personal as well as cultural context and is waiting to be applied. Starting as a total experiment, L’Atelier-ksr soon became quite serious in our mind. Acting as a gallery - representing artists, but keeping it’s experimental approach, thus appearing as a project space. But Berlin is full of great people doing amazing things, spaces are popping up fast. That also started to make me think about our role in this context and I suddenly feared too many people were aiming to do the same… This gave me ideas to expand L’Atelier-ksr
differently. Personal reason also pushed this new vision: I became a mother last year and running L’Atelier-ksr alone, as I have been doing it since three years, was becoming impossible. Dynamics I usually choose people and then listen to their projects. If I believe in one person, I’ll support all his projects, even if I do not agree with some of them. I know that would not be possible and that would also be unfair. Everyone needs to go through errors to get where he wants. This is how I function with my represented artists. I cannot use this with everyone obviously. I have started this project alone and I have been directing it alone. I employed Judith Lavagna, a French curator based in Berlin, to assist me during aprox. 8 months. This period did benefit a lot to the space as well as myself. Sharing the responsibility but also opening up my vision was necessary.I am now looking forward to open up collaborations and partnerships.
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O’NEWWALL
O’NEWWALL Project space, Gallery, Publishing house O’NewWall means ‘May and/or June’ which means midsummer in Korean. Opened in June, 2011, Space O’NewWall is a collaborative group of curators aiming at a new concept gallery and an agency which carries out the connection of ‘city-image-culture’ which contemporary human being grows, changes and develops within. O’NewWall tries to function as a curatorial laboratory where genre, age, medium, nation, and era can harmonize.
from 2012 type PROFIT ORIENTED
RESPONSIBLE FOR THE PROGRAM
SOURCES OF EVENTS
PROJECTS PER YEAR/DURATION
GUEST CURATOR CO-CURATOR
BY INVITATION
20-25 / YEAR 3 WEEKS
35 4
Context Several young curators who majored in Theory of Art located themselves at Seongbuk-dong, Seoul, and opened O’NewWall, claiming to stand for a ‘Curating Lab’ that can connect the city, image and culture. Dynamics O’NewWall’s strategy was to go further from introducing young and experimental artists and combine and collaborate with the existing resources in the local culture and residents. Additionally, O’NewWall started to network and cooperate with international organizers and artists. When organizing an exhibition, O’NewWall always cooperates with artists without any particular contest or call. In order to enrich programs and strengthen the effect of such, O’NewWall works closely with guest/co- curators. By inviting and cooperating with influential guest curators/ organizers(e.g. Hakryang Kim, Daebum Lee and Dongyeon Ko), opportunities to meet new artists and public attention increase. The increase of financial support such as the establishment of the Artist Welfare Fund enabled O’NewWall to organize workshops which helped in networking with more artists and program organizers. Recently, many foreign artists are showing interest in participating with O’NewWall after opening exhibitions that showed England, Japan and Taiwan artists’ works. O’NewWall’s attempt to expand its boundaries drove attention from the young artists who mostly were rejected from big, commercial galleries. While talks and experiments to revive the alternative art spaces kept going on, O’NewWall focused on connecting with global networks based on a strong local art scene with an experimental curatorial point of view. Position Space O’NewWall does not make a stand as an alternative space and in some cases distributes artwork to private/public
galleries. However, most of the funding is provided by the Arts Council Korea and the Seoul Foundation for Arts and Culture. O’NewWall’s annual local art festival ‘Mayfest’ is supported by public organizations including the Seongbuk-gu Foundation and the Seongbuk Cultural Foundation. Cultural programs such as visiting culturally poor areas with the artists to provide art education to residents, are operated by donation from private enterprises or given by the government’s lottery profit. To the members and organizers of O’NewWall, the concept of being ‘Alternative’ or ‘Independent’ does not mean simply rejecting institutional standards or systems. The main concern now is the matter of sustainability of this very space. O’NewWall realizes that cultural embracement and pluralism has to be maintained so that the space can embody newly emerging cultural issues and the work of young artists. Vision Since its beginning, O’NewWall has aimed to expand its network in the art scene within Asian countries such as Japan, Taiwan, Myanmar and Cambodia and this is an ongoing plan. Next goal for O’NewWall is to make a revenue model while keeping its tolerant and experimental characteristics. This challenge will possibly influence the Korean art market as an exceptional example of art space management.
www.onewwall.com 52, SEONGBUKDONG,SEONGBUKGU SEOUL, KOREA
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EXHIBITION VIEW: CLOSE UP
EXHIBITION VIEW: OPENING
EXHIBITION VIEW: WINDOW
ASIA CONTEMPORARY ART PLATFORM NON BERLIN Since 2012, NON Berlin has been building an artist network with an aim to raise consciousness on modern times. By breaking away from Western-oriented theories and by collecting extensive discourses that cover Eastern and Western philosophy and art, we pursue to make a balance of yin and yang, a symbol of harmony. Stepping further, NON Berlin investigates into ways of how to bring out opinions and generate discussions about Asian ideologies. As a preliminary, there needs to be a change in the way we perceive the world: enjoying the process of thinking and using art as a tool to break our boundaries of thoughts and enrich our souls; different from a materialistic or hegemonic point of view. NON Berlin will keep on introducing Asian philosophy, experimenting with art and creating a playful and communicative atmosphere where people can enjoy this whole process.
TEAM Director Ido Shin Art Director Chan Sook Choi Project Manager Nayeon Kim Project Assistant Joonyoup Park CONTACT www.nonberlin.com nonberlin.info@gmail.com
BERLINERPOOL ARTS NETWORK Berlinerpool is a non-for-profit platform for artists, curators, art managers and spaces of Berlin supported by a physical documentation archive of its members, taking the shape of a research center on Berlin-based art. berlinerpool is an archive of NOW, a curated network of active professionals involved in the daily making of culture in the city. By structuring, saving and contextualizing information, berlinerpool takes a mediating position between individuals, making their work and ideas accessible to specific/ professional and wider audiences. With a collaborative approach, Berlinerpool explores the interdependencies implicit in the process of making culture at large, bringing people closer by sharing resources, exchanging knowledge, and mapping contemporary concerns. With this aim, berlinerpool’s public program of talks, workshops and project-based residencies responds to the fields of archiving practices, curating, arts management and digital humanities, understanding on-going research as the axis to actively engage and mobilize people, projects and ideas through local and international cooperation. * Since 2005 Berlinerpool has been committed to the preservation, accessibility, spreading and making of culture in Berlin.
TEAM Director Andrzej Raszyk Chief Curator Paz Ponce Perez-Bustamante Project Manager Aleksandra Pronina
CONTACT www.berlinerpool.de contact@berlinerpool.de
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ACKNOWLEDGMENTS We would like to express our gratitude to the many people who supported this project and made this cooperation possible, with a special mention to representative of the Korean Nonprofit Art Spaces Network Sangho Seo, active member of Network of Berlin Independent Project Spaces and Initiatives Matthias Mayer. We would like to thank all participating project spaces for having shared their stories and visions with us and express our gratitude to Eunhae Kim for her valuable help, to Anaisa Franco for the technical assistance, and to Professor of Spanish Philology Ana Sofía Pérez-Bustamante, for her invaluable support with the semiotic analysis of this work. We are also greatful for the generous support from the Korean Culture Center in Berlin.
CREDITS Project production and coordination / Asia contemporary art platform NON Berlin & Berlinerpool Arts Network Concept & Text / Paz Ponce Artistic-Visual Concept / Chan Sook Choi Project Coordination / Nayeon Kim, Aleksandra Pronina Coordination Assistance / Steve Park Scenography / Ido Shin Exhibition-Technic / Radek Noga, Steve Park Graphic & Editorial Design / Aleksandra Pronina Communication / Andrzej Raszyk The Grammar of the Independent Art Scene | Glocal perspectives on independent cultural production © 2014 PHOTO CREDITS Exhibition View - © Chan Sook Choi / © Aleksandra Pronina Page 19-20 Spor Klübü Photo enclosed - © Timea Anita Oravecz “Camping Europa”, installation view, 28.03.06.04.2014 Photo - © Balint Meggyesi Page 29-30 LAGE EGAL Photo © Katharina Kritzler Otherwise - all the images are courtesy of respective Art Spaces.
PARTNERS AND SUPPORTERS
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ISBN 978-3-86387-535-0 Printed in Germany Berlin Š 2014
EXHIBITION CATALOGUE Berlin © 2014