Summary

The words OWN and AIR are striking emblazoned on the facade of the wooden hut. The term own anticipates the desire of the recipient to grasp the situation in its entirety—a desire that the artistic work in its logic continuously undermines. The approaching viewer dissolves inside the hut. Accompanied by breathing patterns, the work seems to wake up. Through a window the gaze falls on a lamp, swinging gently at first, which after a few moments, accompanied by “an escalation of breathing sounds,” moves in a head-on trajectory toward the visitor. Blinded by the floodlights, the guest is no longer able to recognize what is happening in the interior of the room. Then audible internal disputes follow, reducing the visitor to a mere spectator. Hence, a narrative moment develops out of the mechanical movement of OWN - AUS. The cabin is experienced not as inanimate object, but as a human counterpart.

Partnership

The project OWN-AUS is funded by the City of Braunschweig.

Biography

Andreas Fischer was born in 1972 in Munich and lives and works in Dusseldorf, where he graduated from the Kunstakademie in 2003 as a master student of Prof. Georg Herold. In 2012 Fischer won the Projekt-Stipendium der Kunststiftung NRW, the Peil-Stipendium of the Peil-Stiftung Düren, and in 2010 the Atelier Stipendium of Schloss Ringenberg. From everyday materials and objects, Andreas Fischer designs kinetic sculptures which develop narrative qualities. His work is represented in private and public collections, including Kunst aus NRW Kornelimünster, Aachen, and the Sammlung des Museum Ludwig, Cologne.

Exhibitions

2014

Breaking Bad By Baking Bread, Museum Düren (solo)

2014

the Head of the Clock, Johann König, Berlin (solo)

2014

boesner art award 2014, Märkisches Museum Witten

2013

A WORLD OF WILD DOUBT, Der Kunstverein, seit 1817, Hamburg

2012

Your time is my Rolex, Museum Ludwig, Köln (solo)

2012

Atelier+ Küche= Labore der Sinne, MARTa Herford

2010

Happy End, Kunsthalle Göppingen

2010

Elevation, Schloss Ringenberg, Hamminkeln

2009

Intervention Winkelgast, Museum Ludwig, Köln (solo)

2009

OFEN AUS, Kunstverein Bonn (solo)

2008

Reculer pour mieux sauter, Kunstverein Siegburg (solo)

2008

Ad Absurdum- Zeitgemäße Apparate, Städtische Galerie Nordhorn

2008

Förderpreis- Ausstelung, Kunstraum Düsseldorf

2007

New Talent, Förderkoje, Art Cologne, Köln

2007

Hotel Kerberos, Kunst im Tunnel (KIT), Düsseldorf

2007

Minibar für Sansibar, Dok25a, Düsseldorf

2007

Installation Rabenrohr, Sammlung Museum Ludwig, Köln

2006

Es war alles noch viel schlimmer, Kunstverein, Aschaffenburg

2005

Westbindung, Galerie Vera Gliem, Köln (solo)

2005

Ars Electronica Linz, Österreich

2003

MOTHER, Galerie Vera Gliem, Köln (solo)

Summary

A weave of 44 wooden beams encompass a circular path. As if suspended, they rotate around a ring-formed central axis, leaving the impression of an unobstructed, and simultaneously, tunnel-like space—a walk-in lattice of flowing lines: reminiscent of a helical body, generating shimmering moiré effects. As the visitor moves through the installation, the sun “draws” constantly varying patterns of light and shadow, and with its changing positions, also determines the shape and dimension of the work. At night, the effect of shadow and the perception of the pavilion is inverted by a light source at the center: fields of light and shadow are uniformly mapped onto the surrounding exterior. In the braid of beams—this entanglement of space, light and time— You and I, wandering on the snake’s tail is an experiential space reflecting the times of the day.

Partnership

The project You and I, wandering on the snake’s tail is made possible by the courtesy of FIBAV Immobilien GmbH and Metallbau Klauenberg GmbH.

Biography

Thilo Frank, born in 1978 in Waiblingen, Germany, lives and works in Berlin. After studying at the Kunstakademie, Stuttgart and the Royal Danish Academy of Fine Arts, Copenhagen, he worked in the studio of Olafur Eliasson, before returning to Stuttgart in 2005 for an Intermedia Art-Studium.
In 2013 a guest professorship took him to the University of Aalborg. With Ekko (2011) and Spænding (2012) he won two Danish competitions for permanent works in public spaces. In his frequently walk-in installations, Frank addresses issues of symmetry, proportion and mass ratios that influence the perception of space and self-awareness. Thilo Frank’s works have been shown internationally in group and solo exhibitions.

Exhibitions

2014

Festival of Future Nows , Neue Nationalgalerie Berlin

2014

Thilo Frank, Kunstraum Dornbirn Österreich (solo)

2014

Bildmuseet, Umea, Schweden (solo)

2013

BERLIN.STATUS 02, Künstlerhaus Bethanien, Berlin

2013

Sharjah Biennial, Vereinigte Arabische Emirate

2012

Utzon Center, Aalborg, Dänemark

2012

Exhibition ArtPod, Imaginäre Reisen at Amerika Haus, Berlin

2012

The englightened City, Cathedral of St. Budolfi in Aalborg, Dänemark (solo)

2012

EKKO, public artwork in Hjallerup, Dänemark (solo)

2012

Parallelwelt, Kunsthalle Wien, Österreich

2011

The Phoenix is closer than it appears, KUNSTEN, Museum of Modern Art Aalborg, Dänemark (solo)

2010

PROVINZ, Eine Ausstellung im Sommer 2010, Lindau

2009

Circus Hein, FRAC Orléans & Atelier Calder Saché, Frankreich

2009

Rethink the implict, Den Frie Center of Contemporary Art, Kopenhagen, Dänemark

Summary

The theme of the project Satelliten, developed by students of the Institut für Architekturbezogene Kunst (IAK) of Technischen Universität Braunschweig, is the subject of "Contact". Assuming the existence of interstellar intelligent life, how would our thoughts and actions be effected? How would we behave towards these "strangers", how would we welcome them? How should our "ship" be equipped to receive alien intelligence adequately? In addressing these issues, the participating artists have constructed three walk-in steel frame structures, the interior of each, lined with a cubic fabric cover made of stretched silk-screen. Two floating satellites anchored at the base station act as a "contact” point, in which concerts, readings, and lectures are regularly held. The cubes, illuminated by night, challenge the senses. The surrounding space disappears, and an equally brightly lit shell, providing a circular view skyward, surrounds the visitor. This project is being coordinated by Bernd Schulz.

Realized design: Thies Wacker and Christian Schad

Other designs: Havva Gizem Artar, Katharina Christina Kothe, Michelle Korell

Partnership

The project Satelliten is a contribution of the IAK, Institut für Architekturbezogene Kunst der Technischen Universität Braunschweig, head of institute Tomas Saraceno. The cooperation is supported by the Vizepräsidentin, Prof. Susanne Robra-Bissantz and her project Sandkasten- self-made campus, as well as by sponsor, Helmut Streiff, and the Braunschweigischen Hochschulbund e.V.

Summary

A dense net of Christmas lights lies over the facades of the villa, Gartenhaus Häckel, built by architect and urban planner Peter Joseph Krahe. Sound and geometric patterns of light pulsate in unison, setting the house in vibration. This light choreography follows the rhythm of a sound sequence, made up of samples from the themes of horror films, composed by the artist. Christmas lights adorning a home usually celebrate the lives of the people living inside—their absence however, is all the more striking, instilling an uncanny and sustained feeling of discomfort. A spectacularly staged mystery, ...But No One’s Home lures its visitors and, at the same time, scrutinizes the desire for sensation.

The work is a accessible Tuesday - Sunday, 6:00 pm - 11:00 pm. The Soundtracks of the work are available on the local broadcasting Network at the Radio frequency 96,80 MHz.

Partnership

The project ...But No One’s Home is made possible by the kind support of the Bürgerstiftung Braunschweig, the Stiftung Sparda-Bank Hannover, and the Niedersächsischen Ministerium für Wissenschaft und Kultur.

Biography

The artist Kevin Schmidt, born in 1972 in Ottawa, Canada, studied at the Emily Carr Institute of Art and Design, Vancouver. In his cinematic works, installations and events, the Canadian artist plays with romanticized landscapes and offshoots of the entertainment industry. After an Artist-in-Residence at Künstlerhaus Bethanien in Berlin (2013), Schmidt received the Braunschweiger BS Project-Stipendiat. Kevin Schmidt lives and works in Vancouver.

Exhibitions

2014

Harmless High Altitude Balloon Amateur Radio Equipment, Kunstverein Braunschweig, Braunschweig (solo)

2014

Fogo Island Arts, Fogo Island, Neufundland (solo)

2014

Contemporary Art Gallery, Vancouver, Kanada (solo)

2014

Sights and Sounds: Global Film and Video, The Jewish Museum, New York, USA

2013

EDM House, Künstlerhaus Bethanien, Berlin (solo)

2013

L'Avenir (looking Forward), Montreal Biennal, Kanada

2012

Zoo, Museé d'art contemporain de Montréal, Kanada

2011

A Sign in the Northwest Passage, Bielefelder Kunstverein

2013

Epic Journey, Musée d'art contemporain de Montréal, Kanada (solo)

2010

Catriona Jeffries, Vancouver, Kanada (solo)

2009

Wild Signals, Galerie Barbara Thumm, Berlin (solo)

2008

Wild Signals, Württembergischer Kunstverein Stuttgart

2007

Depiction Part IV: Film Program for the IFFR 2007, Witte de With, Rotterdamm, Niederlande

2006

Canada Dreaming (Desires And Ideas For The Future By Artists Of The Biggest Country In America), Kunstverein Wolfsburg

2005

Fog, Mecer Union, Toronto Burning Bush, Artspeak, Vancouver, Kanada (solo)

2005

I Wanna Be a Popstar, Club Transmediale, Berlin

2004

Emotion Eins, Frankfurter Kunstverein

Summary

With the work Kultur = Kapital, Alfredo Jaar quotes Joseph Beuys’ thesis Kunst = Kapital from1980 and opens it to an all-encompassing social and international context. In this spirit, his work for Braunschweig is a part of an internationally scaled series, with precursors in Miami, Helsinki and Turin, in which the LED-illuminated words are presented in the respective national languages. Mounted on the portico pillars of the Brunswick Palace, the significant ambivalence of the formulation is accentuated: Kultur = Kapital combines a basic trust in the alternative economy of art production with a critical warning about its commercial appropriation. Reflecting the thinking of the cultural sociologist Pierre Bourdieu, Kultur = Kapital wrestles with the theme of the conflicting dependence between cultural and economic capital—spotlighting it brilliantly.

Partnership

The work Kultur = Kapital is made possible by the City of Braunschweig and the RICHARD-BOREK-STIFTUNG .

Biography

Alfredo Jaar was born in 1956 in Santiago, Chile, where he studied architecture and film directing. His work has been presented internationally in renowned group and solo exhibitions. He has been a Guggenheim Fellow since 1985, a MacArthur Fellow since 2000, and in 2006 was awarded the Spanish Premio Extremadura a la Creación. In his conceptual, engaging work, Alfredo Jaar addresses sociopolitical themes and hidden collective injustices. His works in urban settings repeatedly revolve around the question of which strategies can be used to address various social issues and to expose hidden power structures. Alfredo Jaar’s work is represented in prestigious collections in the Walker Art Center, Minneapolis; the Art Institute of Chicago; and the Museum of Modern Art, New York. Since 1982 the artist has lived and worked in New York City.

Exhibitions

2014

A Logo for America, Times Square, New York, USA

2014

Tonight No Poetry Will Serve , Museum of Contemporary Art Kiasma, Helsinki, Finnland (solo)

2014

Shadows, SCAD Gallery Hong Kong, Hong Kong, China (solo)

2014

Shadows, SCAD Museum of Art, Savannah, GA, USA (solo)

2014

Muxima, San Diego Museum of Art, San Diego, USA (solo)

2013

The Encyclopedic Palace, La Biennale di Venezia, 55th International Art Exhibition, Venedig, Italien

2013

The Sound of Silence, Malmö Konsthall, Malmö (Schweden)

2012

The way it is. Eine Ästhetik des Widerstands, NGBK Neue Gesellschaft für Bildende Kunst e.V., Staatliche Museen zu Berlin, Alte Nationalgalerie, Berlinische Galerie, Berlin (solo)

2011

Mary Lounge, Centro Andaluz de Arte Contemporáneo (CAAC), Sevilla, Spanien (solo)

2011

Marx Lounge, Stedelijk Museum, Bureau Amsterdam, Niederlande (solo)

2009

Political/Minimal, KW Institute or Contemporary Art (solo)

2005

The Eyes of Gutete Emerita, Museum of Fine Arts, Housten, USA (solo)

2005

Let One Hundred Flowers Bloom, MACRO, Museo Arte Contemporanea Roma, Rom, Italien (solo)

2002

documenta 11, Kassel

2000

Alfredo Jaar: Le Silence- Rwanda Project 1994-2000, International Museum of the Red Cross, Genf, Schweiz (solo)

1998

Public Project for Stockholm 98, Kulturhauptstadt Europas, Stockholm, Schweden (solo)

1995

Museum of Contemporary Photography, Chicago, USA (solo)

1994

A Hundred times Nguyen, Fotografiska Museet and Moderna Museet, Stockholm, Schweden (solo)

1993

Gesellschaft für Aktuelle Kunst, Bremen (solo)

1992

1+1+1: Works by Alfredo Jaar, The New Museum of Contemporary Art, New York, USA (solo)

1992

Two or Three Things I Imagine About Them, Whitechapel Art Gallery, London, Großbritannien (solo)

1992

Geography = War, The Museum of Contemporary Art, Chicago, USA (solo)

1987

1+1+1 in documenta 8, Museum Fridericianum, Kassel

1984

Art & Ideology, The New Museum of Contemporary Art, New York, USA (solo)

Summary

Luminous, reflective, mirror-like, Kai Schiemenz’s ensemble of beams, Bastion Beauté, is an engaging interpolation in the surrounding environment. Placed on the summit of the former Ulrich-Bollwerk, it alludes to the historic fortification complex that once defined Braunschweig’s demarcation line. On the border of the historic downtown and contemporary urban expansion areas, the sculpture appears as a “disordered pile of glassy, colourful, luminescent beams, a confusing collage of reflections and colour progressions”, an abandoned construction site of an unfinished, architectural utopia. Somewhat out of place, yet shining sovereignly, the beams silently turn on and off to their own rhythmic cycles. Their light is caught in the treetops and welcomes each new visitor with a “pulsating lavender pistachio cappuccino aroma”.

Partnership

The Bastion Beauté project is made possible with the kind support of the Stiftung Braunschweigischer Kulturbesitz Braunschweig.

Biography

Kai Schiemenz, born in 1966 in Erfurt, lives and works in Berlin. After studying at the Kunsthochschule Berlin-Weissensee (1990–1991) and the UdK Berlin (1991–1998), Schiemenz became a master student of Lothar Baumgarten in 1999. In his work Schiemenz is interested in the city, space, architecture and the regulatory functions that all of these have for human beings. In addition to the GASAG-Kunstpreis (2000) and a project grant from the Projektstipendium des Hauptstadt Kulturfonds Berlin (2004), Schiemenz received a 2005 artist residency at the Villa Aurora, Los Angeles. Teaching positions have taken him to the Monash University, Melbourne, and the UdK Berlin.

Exhibitions

2014

TAKE FIVE, Galerie EIGEN + ART Berlin

2012

Mr. Hyde , giffelkunst, Hamburg

2012

Positions, Galerie EIGEN + ART Leipzig

2012

Host, Kunstverein Wuppertal

2011

Ube Biennale, Japan

2011

Neue Realitäten, Staatliche Museen zu Berlin/Kupferstichkabinett

2011

Wir sind alle Astronauten- Universum Richard Buckminster Fuller, MARTa Herford

2011

Concrete Geometries, AA London, Großbritannien

2010

lush life, Lehmann Maupin Gallery, New York, USA

2010

Light Projects, Melbourne, Australien

2010

International Garden Festival, Le Metis, Kanada

2010

Berlinische Galerie, Akademie der Künste, Berlin

2009

Kunstverein Harburger Bahnhof, Hamburg

2007

Shrunken Theatre, Galerie Fahnemnn, Berlin

2008

Skulpturen Quadrinale Riga, Lettland

2008

Villa Romana, Florenz, Italien

2008

Auswärtiges Amt, Berlin

2006

Invisible City/Ideal City, Zamosc, Polen und Potsdam

2006

Demokratie üben, Westfälischer Kunstverein, Münster

2006

urban ceatures, Pori Art Museum, Pori, Finnland

2005

Wittgenstein in New York- Architektur in der zeitgenössischen Kunst auf Papier, Kupferstichkabinett Berlin

Summary

For Lichtparcours, Michael Sailstorfer has designed a two-fold sculpture. The first part consists of a curved lamppost that blends harmoniously into the park setting. In contrast, directly opposite an over-sized pedestal has been installed, upon which the bronze casting of a cat sits, stoically gazing toward the lantern, exemplifying the original meaning of the title, solar cat. Combining the familiar with the unexpected, Sailstorfer creates an enigmatic, almost surreal situation. While the cat awakens associations with life, the lantern points toward the field of industrial technology. Natural and technical elements, removed from their respective reference systems and surprisingly juxtaposed, develop unusual interactions of organism and artifact. Sailstorfer humorously counteracts the “heroism of classical statues” and proposes an alternative perspective at the starkly and geometrically ordered Löwenwall.

Partnership

The work Solarkatze is made possible by the kind support of the  Arbeitsausschuss für Tourismus Braunschweig e.V., the Anwaltskanzlei Göhmann and the Kienemann Bau- und Beteiligungsgesellschaft mbH.

Biography

Michael Sailstorfer was born in 1979 in Velden / Vils and studied at the Akademie der Bildenden Künste München (1999–2005) and at Goldsmiths College, London (2003–2004). In his artistic practice Sailstorfer works with the inexhaustible pool of existing objects, which he ingeniously modifies and puts together in new functional relationships. With an instinct for the hidden implications and potential of everyday objects, he coaxes narrative moments from devices and architecture. The artist’s works have been shown in international group and solo exhibitions and are represented in numerous international collections, in the George Pompidou, Paris, the Städelmuseums, Frankfurt; the Städtische Galerie im Lenbachhaus, Munich; and the Walker Art Center, Minneapolis. Michael Sailstorfer lives and works in Berlin.

Exhibitions

2015

CentrePasqArt´, Kunsthaus Centre d’art, Biel, Schweiz

2014

It might as well be spring, Rochester Art Center, USA

2014

B-Seite, Haus am Waldsee, Berlin

2014

Kopf und Körper, Museum Kurhaus, Kleve

2014

Every piece is a new problem, Contemporary Arts Center, Cincinnati,Ohio, USA

2013

Try to reach the goal without touching the walls, Carbon 12, Vereinigte Arabische Emirate

2013

Young West, Kunsthalle Recklinghausen in Kooperation mit Emscherkunst

2012

Solarkatze, Thaddaeus Ropac, Salzburg, Österreich

2012

Forst (Vattenfall Contemporary), Berlinische Galerie

2011

Für immer Strom, Kunsthalle Nürnberg

2011

If you should die in a car crash, Zeppelinmuseum Friedrichshafen

2011

Tornado, Public Art Fund Projects, Doris C. Freedman Plaza, Central Park , NY, USA

2011

Raum und Zeit, S.M.A.K., Gent, Belgien

2010

Forst, Kestnergesellschaft, Hannover

2010

T 72, Kunstverein Bremerhaven

2010

Schwarzwald, Leopold Hoesch Museum, Düren

2009

Pulheim gräbt, Pulheim

2008

10 000 Steine, Schirn Kunsthalle, Frankfurt

2008

Mollstraße, Galeri K, Oslo, Norwegen

2006

Michael Sailstorfer, Johann König, Berlin

2005

Hoher Besuch, MARTa Herford, Herford

2005

Der Schein trügt, Jack Hanley Gallery, Los Angeles, USA

2004

Dämmerung, Attitudes- espace d'art contemporain, Genf, Schweiz

2002

Und sie bewegt sich doch!, Städtische Galerie im Lenbachhaus, München

Summary

For Lichtparcours 2016, Tobias Rehberger has installed a “snack bar”, called BEI PESS U. PUSE, at the John F. Kennedy Platz. This illuminated advertisement is taken up with the typography of the neon advertisement on the other side of the road. Through this gesture of placement, an aesthetic relic from a past decade is revived, and in its doubling, is anchored in the here and now. At night the “snack bar” itself shines in a mystical blue—a sculptural lamp, illuminating the traffic crossing as a “non-place.” In its form, a rip-off of the concert hall Casa da Musica in Porto designed by Rem Kolas, it points toward an enlivening insistence — an appeal, which Tobias Rehberger connects to the placement of the “snack-bar” at the intersection.

Partnership

The BEI PESS U. PUSE work is kindly supported by Volkswagen Financial Services.

Biography

Tobias Rehberger, born in 1966 in Esslingen, studied with Thomas Bayrle and Martin Kippenberger at the Hochschule für Bildende Künste Städelschule in Frankurt am Main, where he also has taught since 2001. On the border between art, architecture and design, Rehberger has developed artistic interventions, which often can be considered from a functional point of view. In his work for public spaces, he is interested in the moment in which the recipient does not yet identify a work of art as such, and in the resulting agitation that arises out of the connection made between the familiar and unfamiliar. In addition to internationally acclaimed solo and group exhibitions, Rehberger has won the Golden Lion at the Venice Biennale in 2009. The artist participated in the Braunschweig Parcours 2004 with his walk-in artwork Adipöse Enkelin.

Exhibitions

2015

Wrap it up! Deutsche Bank Collection + recent works on paper, MACRO – Museo d'Arte Contemporanea, Rom, Italien (solo)

2014

Tobias Rehberger – Der Raum dazwischen und andere Verhältnisse, Esslinger Kunstverein, Villa Merkel, Esslingen (solo)

2014

Tobias Rehberger. Home and Away and Outside, Schirn Kunsthalle, Frankfurt am Main (solo)

2011

Museum Dhondt-Dhaenens, Deurle (solo)

2010

flach – Plakate, Plakatkonzepte und Wandmalerein, Museum für Angewandte Kunst, Frankfurt am Main (solo)

2010

EMSCHERKUNST.2010, Oberhausen

2009

53rd Venice Biennale, Venedig, Italien

2008

The Chicken and Egg No Problem Wall Painting, Stedelijk Museum, Amsterdam; Museum Ludwig, Köln (solo)

2005

I die everyday 1 COR. 15,31, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spanien (solo)

2004

Whitechapel Gallery, London, Großbritannien (solo)

2004

Adipöse Enkelin, Braunschweiger Pacours 2004

2003

Night Shift, Palais de Tokyo, Paris, Frankreich (solo)

2002

Geläut bis ichs hör, ZKM Karlsruhe (solo)

1999

The secret bulb in Barry L., Galerie für zeitgenössische Kunst, Leipzig (solo)

1998

Berlin Biennale, Berlin

1997

47th Venice Biennale, Italien

1997

Skulptur Projekte Münster 97, Westfälisches Landesmuseum, Münster

1997

Suggestions from the Visitors of the Shows #74 and #75, Portikus, Frankfurt am Main (solo)

1996

Fragments of their pleasant spaces (in my fashionable version), Galerie Bärbel Grässlin (solo)

1996

Manifesta 1, Rotterdamm, Niederlande

1994

Rehbergfest, Galerie Bärbel Grasslin (solo)

Summary

In her installation FLASHBACK, Danica Dakić explores the arch-shaped Drachenbrücke built in 1962 and its reflection in the water, reminiscent of a simple drawing of an eye. Attached to the underside of the bridge’s arch is a semicircular high-grade steel ring mounting plate, which completes a circle with the reflection in the river. In a steady pulse, small jets spray fine mists of water, followed by flashes of light. Caught in the mist, these brief glimmers give the momentary impression of an iris within the “bridge eye”—a fleeting image that constantly reshapes itself and dissolves. Against the backdrop of the ever-changing ambient light and weather, the “bridge eye” changes its shape, sensitizing the gaze for small variances in everyday perception. In the tension between the real place and the metaphorical meaning of river, bridge and light, FLASHBACK symbolizes the fragility of the moment.

Partnership

The installation FLASHBACK is made possible with the kind support of the Braunschweigische Stiftung and the fme AG.

Biography

Born in 1962 in Sarajevo, Danica Dakić studied at the Art Academies in Sarajevo, Belgrade and Dusseldorf. She has taught at the University of Applied Arts, Vienna (2010–2011) and since 2011 has held a professorship at the Bauhaus University in Weimar, where she directs the International MSc Program in Public Art and New Artistic Strategies. Danica Dakićs installations, video works and performances, often accompanied by elaborate research, revolve around issues of identity, language and speechlessness, and patterns of exclusion. Her works are represented internationally, for example in the public collections of the Centre Pompidou, Paris; the Generali Foundation, Vienna; the Museu d’Art Contemporani in Barcelona; the Nouveau Musée National de Monaco; and the National Gallery of Bosnia and Herzegovina in Sarajevo.

Exhibitions

2014

31st Sao Paulo Biennial, Brasilien

2013

Safe Frame, Museum für Moderne Kunst, Frankfurt am Main

2012

Emily, Turku Art Museum, Finnland / gandy gallery, Bratislava, Slowakei (solo)

2011

Danica Dakić , Hammer Museum, Los Angeles, USA (solo)

2011

Sprachenlandschaft, Akademie Graz, Steirischer Herbst, Graz, Österreich

2010

Danica Dakić, Museum of Contemporary Art Zagreb, Kroatien (solo)

2010

Role- Taking, Role- Making, Generali Foundation Wien, Österreich (solo)

2009

Danica Dakić, Wilhelm- Hack- Museum Ludwigshafen (solo)

2009

Danica Dakić, Kunsthalle Düsseldorf (solo)

2009

Casa del Lago, Kunsthaus Langenthal (solo)

2009

Istanbul Biennial, Türkei

2008

Tryptychon, Mala Galerija, Museum of Modern Art Ljublijana, Slowenien (solo)

2008

The Bearable Lightness of Being, La Biennale di Venezia, Venedig, Italien

2007

documenta 12, Kassel

2005

Role- Taking, Role- Making, Kulturzentrum Sinsteden (solo)

2005

Displaced, Neuer Berliner Kunstverein, Berlin

2005

Latente Historie, Skulpturen- Biennale Münsterland

2004

Diary, Exit Gallery, Peja, Kosovo (solo)

2003

A Capella, National Gallery of Bosnia- Herzegovina, Sarajevo, Bosnien und Herzegowina (solo)

2003

Istanbul Biennal, Türkei

2002

Prayer, Kunstverein Ulm (solo)

Summary

In his sculpture M-Sphären (Seyfert 2), composed of multiple interwoven rings, Björn Dahlem addresses the subject of orbits within cosmic galaxies. These galactic centers, or Seyfert Galaxies, named after the astronomer Carl Keenan Seyfert, are surrounded by high-velocity stars, orbiting on irregular pathways. At its center a Seyfert galaxy has a super-massive black hole from which no light impulses escape. Thus, the stars form a kind of ”halo” — a mystery embedded within the galaxy. This mysterious glow, also emanating from Dahlem’s sculpture appears as an extraterrestrial form in contrast to the earthly forms of the outdoor urban environment. Especially at night, amid the urban landscape of the Bürgerpark, a spectacular image of ethereal spheres of light arises.

Partnership

The project M-Sphären (Seyfert 2) is made possible with the kind support of BS Energy Braunschweiger Versorgungs-AG & Co. KG.

Biography

Björn Dahlem was born in 1974 in Munich and lives and works in Berlin. He is a recipient of the Förderpreis des Landes NRW für Bildende Kunst (2000) and the Piepenbrock Förderpreis für Skulptur (2004). Björn Dahlem has been a visiting professor at the Universität der Künste Berlin and the Akademien der Bildenden Künste in Nürnberg and in Karlsruhe. Since 2012 he has held a professorship for sculpture at the Hochschule für Bildende Künste Braunschweig. Wood, neon tubes and polyester fabrics are reoccurring materials in his work. Dahlem’s abstract forms reflect his interest in cosmology, astronomy and particle physics. Celestial bodies and molecular structures combine to form fragile structures, which seem to suggest alternative levels of reality and temporal planes. Björn Dahlem’s works are represented in numerous collections, including the collection of the Museum of Modern Art, New York, and the Saatchi Gallery Collection, London.

Exhibitions

2015

Mare Lunaris, Berlinische Galerie, Museum für Moderne Kunst, Berlin (solo)

2015

Kosmorama, Sies + Hoke, Düsseldorf (solo)

2014

Black Hole (Cygnus X-1), Matadero Contemporary Art Center Madrid, Spanien (solo)

2014

Outer Space. Der Weltraum zwischen Kunst und Wissenschaft, Bundeskunsthalle, Bonn

2013

Melancholia (Systema Saturnium), Galerie Guido W. Baudach, Berlin (solo)

2012

The End of it All, Kunstverein Braunschweig (solo)

2012

Silencio, Oldenburger Kunstverein (solo)

2011

Aus fernen Welten (Focus Imaginarius), Kerstin Engholm Gallery, Wien, Österreich

2011

Weltraum. Die Kunst und ein Traum, Kunsthalle Wien, Österreich

2010

Die Theorie des Himmels I- Die Milchstraße, KIT- Kunst im Tunnel, Quadriennale 2010, Düsseldorf (solo)

2006

Helle Materie, Magazin4- Bregenzer Kunstverein, Österreich (solo)

2005

Lichtkunst aus Kunstlicht, ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe

2005

Return to Space, Kunsthalle Hamburg

2004

Solaris, UCLA Hammer Museum, Los Angeles, USA (solo)

2004

Utopia Planitia II, Hamburger Bahnhof, Berlin (solo)

2004

Utopia Planitia I, FRAC Provence- Alpes- Cote d'Azur, Marseilles, Frankreich (solo)

2004

Lost in Werner, The Modern Institute, Glasgow, Großbritannien (solo)

2003

Coma Sculptor, Friedrich Petzel Gallery, New York, USA (solo)

2001

Club Superspace III, Der Kunstverein, seit 1817, USA (solo)

2001

Club Superspace II, Kunsthalle St. Gallen, Schweiz (solo)

2001

Club Superspace I, Kunstverein Freiburg (solo)

1999

CHANGE IS GOOD, Kunsthalle Fridericianum, Kassel

Summary

With Cast, Elín Hansdóttir creates a walk-in space, which acts like a filter for the lights from the street of passing cars, trucks and trams. Through vertical slots, light penetrates into the inside of the room and throws ephemeral patterns onto the walls and floors. Exterior movements are hereby converted into momentary fields of flickering light and colour, whose appearance and disappearance occur as a direct reaction to the ever-changing outside world. The experience of the sensual quality of light in an intimate space is intensified by the concentration of just a few rays. Thus, the space offers itself to the recipient, not as an objective “other,” but as a point of initiation for body-bound perception—a relational system, constituting and modifying itself again and again, in transitory exchange with the beholder.

Partnership

The Cast project is made possible with the kind support of Volkswagen AG.

Biography

Born 1980 in Reykjavík, Iceland, Elín Hansdóttir graduated from the Iceland Academy of the Arts, Reykjavík (1999-2003) and KHB Berlin-Weissensee (2003-2006). Her works are often site-specific: Hansdóttir intervenes in existing buildings or designs her own objects, spaces and structures, whose dimensions she shrouds in specific uses of lighting. Artificial light and sunlight are used as space-generating or space-structuring factors. Alongside international exhibition projects, Hansdóttir has developed scenery for the Icelandic National Theatre (2011) and for a project of Tanzplan Hamburg (2010). Elin Hansdóttir lives in Berlin and Reykjavík.

Exhibitions

2015

Suspension of Disbelief, KW Institute for Contemporary Art, Berlin (so-lo)

2015

Beyond Reach, Den Frie Kopenhagen, Dänemark

2014

Give Us the Future, n.b.k., Berlin

2013

Relaunch, KW Institute for Contemporary Art, Berlin

2012

Higher Atlas, Marrakech Biennale, Marokko

2011

Long are the days, short are the nights, Wood Street Galleries, Pittsburgh, USA

2010

Trace, i8 Gallery, Reykajavík, Island (solo)

2010

Reciprocal, Biennale für Internationale Lichtkunst, Hamm

2010

They go round and round, 0047, Oslo, Norwegen

2009

Universolo, Unsolo project space, Rom, Italien (solo)

2009

Parallax, Reykjavík Art Museum- Hafnarborg, Island (solo)

2009

Space Revised- Verleib Unbekannt, Künstlerhaus Bremen

2008

Art Against Architecture, National Gallery of Iceland, Reykjavík Arts Festival, Island

2007

Between Two Deaths, ZKM Karlsruhe

2007

Berlin Noir, Perry Rubenstein Gallery, New York, USA

2007

Frieze Projects, Frieze Art Fair, London, Großbritannien

2006

Here Elsewhere, rec gallery, Berlin (solo)

2004

Berlin North, Hamburger Bahnhof Museum für Gegenwartskunst, Berlin

Summary

In their installation for Lichtparcours, Lonneke Gordijn and Ralph Nauta grapple with the architecture and history of an abandoned granary in the port area of Braunschweig-Veltenhof. The motion of the grain, which was channeled through different levels and cleaned and packed there, is reminiscent of a vertical light sculpture traveling through the building. This is an adaptation of their work Shylights, which translates the biological principle of opening and closing flowers to a sequence of constantly changing bodies of light. Here biological processes are interpreted as a form-generating process. The image of the approaching and again receding light sculpture is recorded by a camera and projected onto the exterior of the building. The interplay of varying distances and perspectives grants an unusual insight into the structure of the granary.

Partnership

 This project The Portal of Studio Drift is financed by the City of Braunschweig.

Biography

Ralph Nauta (born in 1978 in Swindon, United Kingdom) and Lonneke Gordijn (born in 1980 in Alkmaar, Netherlands), after studying at the Design Academy Eindhoven in 2006, started working together under the name Studio Drift. In their frequently award-winning work, they combine formal organic vocabulary with innovative lighting technology. In 2008 they received the Lights of the Future Award of the Deutschen Design Council, for their light installation, Fragile Future. In 2011, they were awarded by the Dutch Gemeentemuseum with the first prize of the ZomerExpo. Ralph Nauta and Lonneke Gordijn live and work in Amsterdam.

Exhibitions

2014

Made by Brazilians, Cidade Matarazzo Hospital, Sao Paulo, Brasilien

2014

Arsenale, Venedig, Italien

2014

Useful+Beautiful, Geffrye Museum, London, Großbritannien

2013

Lightopia, Vitra Design Museum, Weil am Rhein

2013

Wit, Nederlands Fotomuseum, Rotterdam, Niederlande

2013

Ja Natuurlijk, Gemeentemuseum, Den Haag, Niederlande

2012

Space Oddity, Grand Hornu, Boussu, Belgien

2012

A Better World, 13th International Architecture Exhibition, La Biennale di Venezia, Venedig, Italien

2012

Luminale, Frankfurt

2011

Curious Minds, The Israel Museum, Jerusalem, Israel

2011

Nieuwe Energie, Museum Boijmans Van Beuningen, Rotterdam, Niederlande

2011

Pavillion of Art and Design (PAD), New York, USA

2011

ZomerExpo, Gemeentemuseum, Den Haag, Niederlande (1.Preis)

2011

Design Miami/Basel, Basel, Schweiz

2010

Luminous Times, Vitra Design Museum, Domaine de Boisbuchet park, Lessac, Frankreich

2010

Death or Alive, Museum of Arts and Design, New York, USA

2009

Glow Festival, Eindhoven, Niederlande

2009

In Praise of Shadows, Victoria and Albert Museum, London, Großbritannien

2009

Gallery Karena Schuessler, Berlin

2009

Surface, Künstlerhaus Dortmund

2008

New Dutch Design, Mars Centre of Contemporary Arts, Moskau, Russland

2008

Light+Building 2008, Lights of the future, German Design Council, Frankfurt

2008

Family of Form, Designhuis Eindhoven, Niederlande

2007

Becoming Dutch/Eindhoven Caucus, Van Abbemuseum, Eindhoven, Niederlande

2007

Bright+Light, Europäisches Parlament, Brüssel, Belgien

2007

Art Rotterdamm, Gallery Mart House, Rotterdam, Niederlande

2006

Fleurs et Lumiéres, Biennale du design, Saint Etienne, Frankreich

Summary

Developed in 2006 and opened to the public in 2008, Evokation in Rot delineates the bridge passage of the Jasperallee. The installation, with its 150 flower-shaped red LED light sources nested in the underside of the bridge and their reflections in the water, comprises a tunnel of fiery-red light blossoms. Based on her work Rosen ohne Dornen developed for Lichtparcours 2000, the theme of the rose is taken up again in Evokation in Rot, and is here completed in a second “movement”: the balustrade is laced in an accent of shimmering yellow, creating a transition to the illuminated street.

Biography

Born in 1953 the Hanoverian artist, Yvonne Goulbier, studied interior design and, between 1980 and 2011, completed numerous projects with the sculptor Klaus Goulbier. After a fellowship at the Villa Massimo in Rome (1986) and an Arbeitsstipendium des Kunstfonds Bonn (1986), Goulbier developed a keen interest in light-based works.

Summary

With his large-scale bridge construction, the Italian artist Fabrizio Plessi recalls a no-longer existing crossing, leading to the Gieseler Wall. Inside, the massively worked rusted frame construction has been installed with video screens. Contrasts are made between technology and construction, moving images and static architecture—all coming together in an installation, which merges the here and now of the stream bed with a historical memory.

Biography

Fabrizio Plessi was born in 1940 in Reggio Emilia, Italy, and studied painting in Venice. Early in the 1970s he began to manufacture large-format video installations, regarding the monitors as sculptural giants. In following works of architecture, in films, videos and performances, Plessi has continued to explore the intersection of nature and technology, with water remaining a reoccurring element in his work. In addition to participation in the Venice Biennale in 1970 and 2003 and an invitation to the documenta 8, Plessi has created exhibition projects for the Martin-Gropius-Bau Berlin (2004), the Wilhelm-Hack-Museum in Ludwigshafen and the Kunsthalle Recklinghausen (2016).

Summary

Mark Dion’s artistic strategies are concerned with collecting, layering, sorting and rearranging found objects. In collaborations with museums and public collections, he suggests alternative, strictly subjective designs and ways of ordering materials, which are made available for objective classification according to scientific methods. Cabinets, shelving systems or pedestals take center stage as integral parts of his installations, and so in this way, modes of museum presentation are integrated in a self-reflective manner into the work. Developed for the Braunschweig Parcours 2004, Der Elster Flohmarkt recalls the form of a small antiquities shop on Braunschweig’s Burgplatz. Inside is an exuberant smorgasbord of items that have been collected from regional flea markets. As a cabinet of forgotten curiosities, Der Elster Flohmarkt takes its place in the tradition of the baroque wonder rooms and, with its restriction to local objects trouvés, builds a bridge to Braunschweig’s present.

Biography

Mark Dion was born in 1961 in New Bedford, Massachusetts, and initially worked as a restorer before beginning studies in 1981 at the School of Visual Arts, New York. A year later he studied in the Independent Study Program of the Whitney Museum of American Art, New York City, where he came in contact with the latest developments in concept art. In his installations, sculptures, performances, films and videos, Dion criticizes and deconstructs museum depictions of nature as dried-up claims to truth. His works have been presented in exhibitions at the Museum of Modern Art, New York (1999); in the Hamburg Valedictorian (2001); at the Kunsthalle, Hamburg (2006); and most recently in Marta Herford (2015/16).