What’s the deal
Munich
nomadic
prologue
what's the deal? wtd project
the nomadic sculpture ...Is an international, multi-disciplinary and artistic approach to the intersecting topics: sustainability and young urban scenes. From September 2013 to July 2015, using the genres of mural art, design, skateboarding, urban biking and digital media, activities in all partner cities were organized--from an inventory of urban scenes hosting creative interactions and workshops to art productions such as self-produced bicycles using sustainable materials. For the station in Munich, the artist Philip Kojo Metz was asked to develop a concept for a sculpture dealing with the topics of sustainability, youth culture/skateboarding and urban space. Together with his team, he created a mobile, skate-able sculpture that could be used at various locations in Munich. “(…) Times are changing rapidly, so are the definitions of urban space. Depending on the priorities of temporary or long-term usage, public space is seen from a different angle and perspective. Every mind creates its own personal city map to which each individual adapts and which are based on one’s personal needs. WTD Munich uses the urban mapping of the different skateboarding scenes as an example to find a creative approach towards the issue” Tuncay Acar
is an object in public space that was developed in 5 phases. The aim was to create a sculpture that can serve multiple purposes--an expectation that would be hard to fulfill, especially for an object of art, which per definition is not an object created with the purpose of being used. The phases allowed us to implement the experiences that we had from one station to the other and get into a dialogue with the surrounding and the public. Thus, the sculpture might even reflect the society that surrounds it.
the nomadic sculpture
nomadic sculpture consists of various modular units, which were built mainly from the wooden remains of a roof structure.
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It is variable in shape, and therefore can adapt to the site and is suitable for skateboards. A selection of locations in public space were used for building the sculpture. Many thanks to the people that contributed to the sculpture with their expertise, their knowledge and experiences. And to all the musicians and artists that accompanied the sculpture and made each station an exciting event.
preparations
how to skate a rooftop
One member from our core team of the NOMADIC SCULPTURE was working for a company that was breaking down houses. As the opportunity arose, the idea was born, to transfer a whole roof construction of a house into a skate-able sculpture. We were blessed and grateful to have the best quality material being recycled on our behalf.
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episode 1
the three question marks max-joseph-platz During "Episode 1" passers-by were able to participate in the project by answering our questions. Based on this feedback, the WTD artists Rosanna Schumacher, Steffi M端ller, Klaus Dietl, Serena Ferrario and Cordi created personalized artwork, which could be taken home by the participants afterwards.
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07 The idea was to create something in public space which was not yet finished and, thereby, encourage people to question how the space could be used differently and, thus, create an incentive for the public to deal with the space. The question was then: how do we develop strategies for "the public" to look around and get motivated to join the creation? We decided to get them involved by asking them questions about the location, their ideas on how they would make the place look like and their opinions about sustainability. The passers-by filled out their questionnaires, and in return, we received many inspiring ideas from the public for the future development of the sculpture. As a team we came up with an idea: an art-production machine where a specially produced, personalized artwork was given as a reward for filling out a questionnaire--a "giveaway". Some of the artworks stayed with us and is intended to be part of the final exhibition of the Nomadic Sculpture. At the same time, video screenings, concerts and bars were organized in and around the container. The otherwise rather subdued Opernplatz transformed into a meeting place and "hang out spot". Large question marks were implemented at this station and placed as obstacles for the pedestrians--eye-catching, drawing attention to our campaign and serving as a welcomed background for tourist's photos. The question marks, used as a motif, were repeated and emerged later in the sculpture. At this very moment, one year after our installation at the Max-Joseph-Platz, the opera house made a call for proposals for how the space could be used in the future. It's called “A Place for Everyone�. Also, the plan is to collect voices for a petition (signatures) from the public. Perhaps inspired by our intervention?
could there be a new approach/ way of dealing with urban culture?
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episode 2
o the arrival of the modular units The Candidplatz in Munich is a "non-place"; it is usually noticed only in passing. It was the idea of the organizers to revive this place, breathe it to life for a few days. The goal for this station was to test the modular design of the sculpture in practice. A member of the team had access to a discarded roof. From this came the inspiration for the choice of material for the skateboard sculpture: an entire rooftop for use! Since it was recycled material, the aspect of sustainability was immanent. After some technical and practical challenges, we developed a design that allowed us to work with our material. It was the test run, to build a sculpture from some of the modules, which previously existed only as a model and on paper. We were able to test whether the proportions functioned well in order to ride a skateboard. A highlight of the event on Candidplatz was a skateboard workshop given by "High Five", a youth organization, where prizes were given for navigating the sculpture. Pleased, we discovered that the sculpture was considered to be a challenge for skateboarders at different levels. We had professionals, advanced, and amateurs try their skills on the sculpture. Several music bands and a diverse cultural program invited the audience to join in.
candidplatz
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“what else is there apart from generating money (capital)� tuncay acar
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the express brass band
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episode 3
positive fashion & skatebording Objective: At the Willy-Brandt-Platz is the RiemArcaden (a shopping mall in the area of the former airport of Munich). Our aim was to place the sculpture in such a way so that it would be noticed by the nearby neighborhoods and visitors of the Riem Arcaden. We wanted to address the issue of sustainability and youth fashion in contrast with the existing shopping center. Realization: From 44 modules, an oversized, moveable question mark was created. The sculpture was positioned in the center of the huge square to give a clear picture. At this station, the plan was that, in addition to being used by skateboarders and bikers, who by now quickly joined due to the fastspreading news about the sculpture, it would also be used as a catwalk for a fashion show. Furthermore, there was a skater flea market, where used skater clothes could be acquired, in addition to various events and concerts. After this episode, the target of the sculpture was completed. The centerpiece is a question mark made up of modules, which are assembled in various ways and can be changed completely. The possibility to extend it as needed exists.
m willy-brandt-platz / riem
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“my interest was to create a network between traditional and contemporary forms of culture and also to include young scenes.� hertha pietsch- zuber
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“we created a system of various cubes that you can combine in various ways and try out what is possible…what makes sense?… what is fun?” matt wiegele
episode 4
moving underground maximiliansforum
The fourth stage lasted from November to January. The initial idea was to create an indoor skate installation. MaximiliansForum came up as an opportunity. This gave the project a literal underground characteristic: The MaximiliansForum is an art space of the City of Munich in an underpass at the intersection of Maximiliansstrasse and the “Altstadtring�. Our goal was to establish it as a meeting place for skaters, whose centerpiece would be the Nomadic Sculpture. At this stage the focus was on the usability of the sculpture over a longer period of 7 weeks. Like with the other episodes, the presentation of the sculpture to the public was accompanied by several events with skate sessions, live music, DJs, performances and a design concept store. At this station, the shape of the exclamation mark, which only the attentive viewer would notice, was in dialogue with the bold question mark created at the Willy-Brandt-Platz in Episode 3.
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“we believe that it is possible to strengthen the international aspect with projects like this� hertha pietsch-zuber
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“ it's not a drop sculpture, it's a pop (up) sculpture- sustainability in flow” philip kojo metz
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episode 5
nomadic sculpture - an open end d The fifth and final station of the project will incorporate all the previous stations. The sculpture will once again be rearranged as a whole art piece combining different disciplines. The various aspects of the sculpture will be discussed. The container will be used as an exhibition space as well as a cinema and will be an integral part of the sculpture.
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art should also at times be entertaining... conversation between nico anklam and philip metz
Nico Anklam: Philip, so far, from the access I have to your work, I can usually find at least two reference systems: I am thinking both research-based works in connection of colonialism and post-colonial artistic practice, as well as on your identity discourse within performative practice. Both, of course, often overlap. Now a skateboard ramp--how did this come about? Philip Kojo Metz: That‘s right. On the one hand, my work areas overlap. On the other hand, it is true that I have been working in different areas, which can be understood separately. The task I was approached with was to create a sculpture that explores sustainability, youth culture skateboarding and urban space. Since I had been working previously with these separate issues, I found it interesting to make the connection there. My work areas differ not only in theme or content, but also in material. Of course, here again is an overlap, and it is very interesting for me to see in certain moments, how a work can be understood. Now, to specifically address your question, in 2005 I produced a work called „FREISTIL BAYERN“. In this work, I transformed 20 beer tables with banks into a miniramp. This sculpture was equipped with a sound installation. At the time, I asked the Munich EXPRESS BRASS BAND (P. 11, 12) to record the song „KILLING IN THE NAME OF“ by Rage Against the Machine for me. Metaphorically, it is about identity negotiations between traditional and youth culture. And by
the way-- art should also at times be entertaining. Tuncay Acar, one of the initiators of the "What's the deal" EU project remembered this sculpture and invited me to design something similar. N.A. : Now a skateboard ramp is, in the first place, only an object, usually made of cheaper wood panels, held together with screws. If you don’t see them in their normal context, they can also resemble these protective casings for outdoor sculptures in the winter. You have also worked with that once before, right? Was it that you actually made a reference to Timm Ulrichs‘ „housing for monuments and fountains“ in the year 2000 in Munich? At the time you were at the Academy there. P.K.M. : That‘s right! I am pleased that you mentioned that. I‘m a fan of Timm Ulrichs’ work. I found this work great: simple and absurd. It‘s now somewhat known that just about everyone who considers himself a German artist, should have at least once copied Timm Ulrichs. So I decided to produce my own Timm Ulrichs. With „Winter Protection for a Sculpture That Does Not Exist“. I confess openly to this inspiration. While Timm Ulrichs actually used existing housing, in my version, a nonexistent sculpture provokes the imagination. At the first station of the nomadic sculpture, only the shell of the sculpture existed as the container, which now serves as storage space, as means of
31 transport and as a part of the sculpture. So your questions hit the nail on the head, because the nomadic sculpture was inspired by these two works. N. A. : Perhaps we are talking also about the idea of an adaptable plant, a flexible sculpture. When we understand your work „nomadic sculpture“ as a usable piece of art, then it has a form, but it is never definite: parts can be added or replaced. Does it always work as a skate-board ramp, or would you allow the work to fall apart after extensive use? P.K.M. : Even during the „Winter Protection“, I liked very much that the form was changed and could be assembled differently. Also, the mobile element I found interesting. How can we think of a sculpture, other than as a stone or bronze block, which will be on display for a supposed eternity? As the sculpture should also address the issue of sustainability, which was an essential term within the WTD- overall project, this form sets up the counter-argument that the variable is the sustainable aspect--not to mention the multi-functionality. The contrary interested me, the questioning of public art. What is the function of art? What function does art have beyond mere usability? This is about the exploration of these contradictions. And I like alleged inconsistencies. It made sense--and it was and is an asset--to work with skaters, technicians who have a clue from that compartment. I‘m not a skater, so I got feedback on what works for them and what does not. Matt, Tuncay, Kilian, Lars and the Munich Skateboarding e.V. and myself made up the core team, which developed the sculpture‘s shape. The sculpture is designed so that it changes by the use of it, and can be changed by the user. That was important to me. Therefore, it can be converted into a sitting area, a bar, a
climbing tower etc ... It is not built to last with prolonged use. It would take a lot of effort to stabilize and preserve it. There are still ideas, but so far, it is not necessary to make it last. Change is desired, rotting rather not. N. A. : Let‘s talk a little about the aspect of art in public spaces. In Berlin, you lately received much attention for a work before the Volksbühne. Suddenly, in front of the theater was a pedestal, which is recognized as a base for heroic monuments, but with no figure on it , just a wreath on the side. The work was titled, „Les heros invisible“. Are there not a few similarities noted in relation to your nomadic sculpture in Munich, despite the obvious differences? P.K.M. : Yes probably, but which similarities are you thinking about? N.A. : I initially thought of abstraction. Or the prototype if you want. Both works are distinguished, if we understand them as art in public space, they create a confusing abstraction. The pedestal in front of the Volksbühne is suddenly referencing a monument, testimonial site or a memorial. These three concepts are really very different motivated: they remind, admonish or celebrate something that has usually already happened. However, with your work, you lack the protagonists. The skateboard ramps, at the moment when they
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Winterprotection for a Sulpture That Does not Exist, 2008, ERBA Valence
FREISTIL BAYERN, Academy Of Fine Arts Munich, 2005
33 are not used, would be only an accumulation of wooden objects, but somehow, through the absence of the actual performer, these objects actually “perform”. P.K.M. : And maybe it also plays with the concept of ‚sculpture.‘ „ Les heros invisible” refers to the heroes whose history has been forgotten, so to speak; they do not exist--they are not visible. The invisible hero is indeed an invisible sculpture, and so, this theme is also picked up again with the modified form of the first stop of „nomadic sculpture“. N. A. : True. Both probably combine the mobility of the work itself, initially. P.K.M. : I am also recently interested in just the physical sculpture, which creates a relationship between the observer and the object. Add to this, the movement. The Large-scale. Through the imagination of a movement, movement takes place. The sculpture has, by provoking the imagination of a movement, a physical effect on the viewer. A work that has influenced me in this respect was „The Burghers of Calais“ by Rodin. The figures walking in a circle, encourage the viewer to constantly walk around the sculpture. The movement is transferred to the viewer. But the monument in Munich is also a mobile sculpture. This is actually in contrast to the monument in the usual sense. N. A. : Thank you, Philip, for this conversation.
Nico Anklam studied art history, aesthetics and cultural history in London, Berlin and as a Fulbright scholar in New York. He is currently head of institutional relations at WENTRUP Berlin and since 2008 part of the educational team of the Deutsche Guggenheim, now Deutsche Bank Kunsthalle.
StudioPhilipKojoMetz studiophilipkojometz@gmail.com www.philipmetz.de
Contributors to the Nomadic Sculpture: Idea & concept: Philip Kojo Metz Concept and Realisation: Kilian Gerle, Matt Wiegele, Philip Kojo Metz, Tuncay Acar Organization: Hertha Pietsch-Zuber, Patricia Müller (Department of Arts and Culture, City of Munich), Tuncay Acar (Kunstzentrat e.V.) Supported by many local partners and volunteers, in particular Skateboarding München e.V. , Halle 6 and update, jung & erwachsen (Stadtbibliothek München), Lars Stockmann-Olsen, Torsten Mühlbach Published by: Department of Arts and Culture, City of Munich, Burgstr. 4, 80331 Munich, GERMANY whatsthedeal.eu www.facebook.com/wtdproject Editorial design: Liz Medrano and Philip Kojo Metz Cover Illustration: Liz Mevill Photos by: WTD project: P. 4,5 Gene Eichner : P. 22, projections Episode3 Mehmet Ismail Birinci: P. 5, 6, 7, 8, 9, 16, 17, 18, 19, 28 Philip Kojo Metz: P. 5, 10, 11, 12, 13, 14, 28, inner cover Hertha Pietsch- Zuber: P. 5, 20 Sketches NOMADIC SCULPTURE Episode 5: Cole Cataneo, Episode3, Episode 4 Matt Wigele
with the support of
This project has been funded with support from the European Commission. This publication solely reflects the views of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
Published under the Creative Commons BY-NC-SA 3.0 License
© 2015 Department of Arts and Culture, City of Munich
sculpture
What’s the deal