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.
The project OWN-AUS is funded by the City of Braunschweig.
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.
You and I, wandering on the snake’s tail
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.
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.
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
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.
...But No One’s Home
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.
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.
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.
Kultur = Kapital
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.
The work Kultur = Kapital is made possible by the City of Braunschweig and the RICHARD-BOREK-STIFTUNG .
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.
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”.
The Bastion Beauté project is made possible with the kind support of the Stiftung Braunschweigischer Kulturbesitz Braunschweig.
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.
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.
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.
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.
BEI PESS U. PUSE
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.
The BEI PESS U. PUSE work is kindly supported by Volkswagen Financial Services.
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.
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.
The installation FLASHBACK is made possible with the kind support of the Braunschweigische Stiftung and the fme AG.
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.
M-Sphären (Seyfert 2)
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.
The project M-Sphären (Seyfert 2) is made possible with the kind support of BS Energy Braunschweiger Versorgungs-AG & Co. KG.
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.
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.
The Cast project is made possible with the kind support of Volkswagen AG.
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.
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.
This project The Portal of Studio Drift is financed by the City of Braunschweig.
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.
Evokation in Rot
Jasperalleebrücke (permanente Installation)
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.
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.
Bogen der Erinnerung
Alter Bahnhof (permanente Installation)
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.
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).
Der Elster Flohmarkt
Sonnenstraße (permanente Installation)
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.
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).