| Contact | ** | The artists 2007 | ** | Navigation |
| Office Kunstfabrik Am Flutgraben 3 - 12435 Berlin Monday to Wednesday, 11 am to 2 pm phone: +49 30 53 21-96 58 fax: +49 30 53 21-15 70 info [ett] kunstfabrik [punkt] org Directions to the Kunstfabrik (pdf) Letzte Überprüfung Watchtower Schlesischer Busch Am Flutgraben 3 - 12435 Berlin Thursday to Sunday, 2 pm to 7 pm (May-Oct) fon: +49 30 5321-9658 LUe [ett] kunstfabrik [punkt] org |
Almuth Baumfalk, Tania Bedriñana, Tine Benz, Christine Berndt, Dagmar Binder, Harald Birck, Vicente Blanco Mosquera, Ronald de Bloeme, Roland Boden, Mari Brellochs, Katja Brinkmann, Laura Bruce, Salvador Cidrás Robles, Ben Cottrell, Ulrike Dornis, Hannah Dougherty, Markus Draper, Sae Esashi, Norman Gebauer, Christiana Glidden, Franziska Goes, Agnès Hardy, Eberhard Havekost, Martin Henkel, Herr Sphen, Olaf Holzapfel, Sybille Hotz, Christiane John, Stephan Kurr, Wing Yip Lap, Ingrid Lill, Stefan Lux, Saskia Meesters (CBK-Studio), Barbara Morgenstern, Wessel Muller, Aino Nebel, Esther Neumann, Alien Oosting, Daniel Pflumm, raumlabor_berlin (Francesco Apuzzo, Markus Bader, Benjamin Förster-Baldenius, Jan Liesegang, Matthias Rick, Axel Timm), Nicole Riegel, Adrian Rovatkay, Viola Rusche, Sophia Schama, Wolfgang Schlegel, Margot Schmitt, Despina Stokou, Jörg Suermann, Ines Tartler, Ona Tav, Joël Verwimp, Vanessa Wood, Dominic Wood, Frank Zucht. | › 2008 › 2006 › 2005 › 2004 › 2003 › 2002 › german |
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 Georg Klein: turmlaute.2 Georg Klein: turmlaute.2 16.03. - 15.04.2007 Since the opening at 15 March 2007, the satirical art project "turmlaute.2” of the sound and media artist Georg Klein (Berlin) provokes considerable irritations and confusion in the public and among visitors. The pretty convincing performance of the European Boder Watch Organisation is effected by running a professional website and awide distribution of realistic and all-to-true invitations. These mails offer to all EU citizens the opportunity to survey the European Borders by registering as a web patrol. An offer which has been taken seriously in many cases and has been commented accordingly. Many of these comments as well as the first web patrol registrations are documented in the “book of comments” which is displayed at the installation. The installation itself consists of three visually and acoustically designed interior rooms which all are pervaded with dense and intense sound structures (more/pdf) (Deutschlandfunk, 5.4.07) |
LÜ 6/06 Frans van Lent: Raam 8.6. - 22.7.2007 A step to the window. A hand shielding the eyes from the light. A long gaze out on the street. The way back into the room. These activities take one minute in time; the artist Frans van Lent has repeated this simple and day-to-day action sixty times. What at first sight looks like a loop which – as common in artistic videos – accommodates the viewer with a sixtyfold repetition, then turns out to be an action unfolding itself in a flow of time. In contrast to the elusive impression of the same time segment passing sixty times, you have to realise that there is just time passing. 60 minutes in which things and people will change, history will happen, the course of the sun will proceed, thoughts may pass, concentration will decrease, the body will get tired (more/pdf)  Frans van Lent, Raam, 2007 |
 Ulrike Kuschel: 20. (19.) März 2007, Deutsche Gerechtigkeit LÜ 8/07 Ulrike Kuschel: This Wall 3.8. - 30.9.2007 How important is an individual opinion? What kind of significance has a document? How does the design of a document, the way in which it is presented, influence its content? The works of the Berlin artist Ulrike Kuschel can be seen as works in analysing the significance of the documentary. At the former border watch tower at Schlesischer Busch, she realised a two-piece work in which she uses the benchmark data of 13th August 1961 and 20th March 2007 to define margins of the history of the Berlin Wall. While the visitor looks out from the second floor into the park, the former border strip, the empty observation room is filling with voices (more/pdf) Interview with Ulrike Kuschel at the WDR, 13 August 2007, edited by Thomas Fitzel |
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| Abwehr-Performance-Festival | ||||
| Nezaket Ekici: Nazar Dressed in a long robe composed of 600 shiny blue glas amuletts Nezaket Ekci makes her way through the Kreuzbergian Wrangelstrasse. These “blue eyes” from Turkey (turkish: nazar) shall protect the bearer and are said to avert “the evil eye”. But here the artist draws all glances on her and her dazzling robe of 40 kilos weight. In consequence, she becomes both: a powerful bearer of the amulett and the possible victim of these glances. The performance “Nazar” creates an attractive picture and thereby thematises the paradoxes of defense. “Nazar” was first performed in Istanbul in 2005. |
Duo Stoll & Wachall: Dis-Infection The German Medical Handbook defines disinfection as “turning dead or living material into a state of no longer being infectuous”. In the name of defense the duo Stoll & Wachall was engaged to patrol through the “Schlesischer Busch”, dressed up in protection suits, carrying tanks on their backs. Their mission: “Disinfection of the park and its visitors, to prevent them and us against all thinkable infections. By this security measure we increase both, the general hygenie and the general hysteria. We take care for all invisible killing cells. We fight back all attacks from bacteria, germs, and viruses. |
Anny and Sibel Öztürk:
NÖ-Performance Experience the remake of the legendary Beuys art performance “ja ja ja ja ja, nee nee nee nee nee”, first performed at the Staatliche Kunstakademie Dusseldorf in 1986 ! Anny and Sibel Öztürk meet on the green meadow where they skillfully practice what our fellow citizens of turkish origin like to do in the public greens of Berlin: they have a picnic. And what are they doing besides having a picnic in the public green of Berlin? Right: they do the Joseph Beuys ! In accordance with the historical original, the sisters are taking turns in the acts of confirmation and negation while in their performance they substitute the german “nee” (no) by the more emphatic “nö”. |
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Ona Tav: The Well-Spring Body You are wandering through a park. On one of its trees you see a white knight’s armour tied to its stem and two of its branches. Tears of red wine are running down from the eyeholes, slashing the white body on its way down to the feet into a basin so to satisfy one’s thirst. Day after day the tree keeps on standing. The cloud is the ceiling of the skies and we are drinking from its sweat. We dunk our cup into these tears of wine so that in our throat they will turn into fire and we can await the tears from the skies. There is no soul without a world and no tears without a soul. He dressed up in metal to prevent the world from pain but he couldn’t stop his own crying. |
Nevin Aladag: Raise The Roof Nevin Aladag stages a sort of dance on the roof of the Kunstfabrik. Four dancers move to the beats of four different pieces of music which the audience will not hear but only learn titles and length. Instead, they hear the amplified sound of kitten heels piercing through the prepared dance floor.This dance on the roof – where in earlier times GDR border soldiers patrolled – is not a mutual dance. In twofold isolation, marked-off from each other and from the audience, the gestures of attraction and defense constituted in this dance have lost all points of reference. |
Shahram Entekhabi/Becky Ofek: Boxing Box My dearest sport fans, the shadow lighted area is filled with the poisoned dirty smell of no return. This is not about fighting, this is about living, my dear friends. Come and see the warm aggressed blood of 2 dangerous fools exploding like a Russian nuclear power station in an unforgettable century fight between the sexes. Woman versus Man, Bitch versus Bastard. Be witness of the battling Cyclops high up in the sky, fighting their gender pain away. Bäng bäng buff. |
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A project by Shahram Entekhabi and Svenja Moor in co-operation with the Kunstfabrik am Flutgraben e.V. and with the friendly support of the Regierender Bürgermeisters von Berlin, Senatskanzlei – Kulturelle Angelegenheiten |
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| Photos, middle of the top, left and middle below: Lars Frers, Lizenz: CC-BY-SA-NC | ||||
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| Contact | ** | The artists 2006 | ** | Navigation |
| Office Kunstfabrik Am Flutgraben 3 - 12435 Berlin Monday to Wednesday, 11 am to 2 pm phone: +49 30 53 21-96 58 fax: +49 30 53 21-15 70 info [ett] kunstfabrik [punkt] org Directions to the Kunstfabrik (pdf) Letzte Überprüfung Watchtower Schlesischer Busch Am Flutgraben 3 - 12435 Berlin Thursday to Sunday, 2 pm to 7 pm (May-Oct) fon: +49 30 5321-9658 LUe [ett] kunstfabrik [punkt] org |
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Francesco Apuzzo, Almuth Baumfalk, Tania Bedriñana, Julia Beister, Tine Benz, Christine Berndt, Dagmar Binder, Harald Birck, Vicente Blanco Mosquera, Ronald de Bloeme, Roland Boden, Mari Brellochs, Katja Brinkmann, Laura Bruce, Salvador Cidrás Robles, Ben Cottrell, Ulrike Dornis, Hannah Dougherty, Markus Draper, Norman Gebauer, Christiana Glidden, Franziska Goes, Agnès Hardy, Eberhard Havekost, Martin Henkel, Herr Sphen, Olaf Holzapfel, Sybille Hotz, Christiane John, Stephan Kurr, Wing Yip Lap, Ingrid Lill, Stefan Lux, Barbara Morgenstern, Wessel Muller, Aino Nebel, Esther Neumann, Nico Parlevliet (CBK-Atelier), Daniel Pflumm, Nicole Riegel, Adrian Rovatkay, Viola Rusche, Sophia Schama, Wolfgang Schlegel, Margot Schmitt, Nicole Schuck, Despina Stokou, Jörg Suermann, Ines Tartler, Ona Tav, Axel Timm, Joël Verwimp, Vanessa Wood, Dominic Wood, Frank Zucht. | |
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| Letzte
Überprüfung Since May 2005 the Kunstfabrik am Flutgraben e.V. is playing the former border watchtower at the „Schlesische Busch“, presenting an alternating exhibition program as well as a historical documentation of this location. Under the label Letzte Überprüfung artists are invited to creating an artistic work which looks into the place, its history and architecture or the relics of the former border strip in order to combine their impressions with nowadays questions and topics. In 2006 the serial continued: Sofia Hultén kept track of people in the surrounding park, the former border strip. She displayed different objects in the park and – from the hiding in the watchtower – waited for reactions. Later, visitors could watch the results of this observation – entitled Events With Unknown Outcome - on four screens in the tower. For the duration of a month, Axel Timm and Francesco Apuzzo, both members of the group raumlabor_berlin invited to a strategic game under the title Living in the Tower. Construction Project: housing estate “Schlesischer Busch”. This resulted in an outcome of 30 residing models of the watchtower on a scale of 1:33. These models were not only reflecting the fantasies of their constructors but, what is more, thematised topical questions on our perception and exposure to historical relics. The installation of Dave Allen could be interpreted as an hommage to the contemporary composer Frederic Rzewski whose genre-spanning opus represents the overcoming of classical borders in music. On the opening a rock-band played variations on “Wouldn’t it be Nice” from the Beach Boys, following a strict Rzweski-like arrangement during which the musicians permanently got lost and found their way back. By installing a black, glistening dodecahedron Tina Born transformed the watchtower into a Pavillon Nocturne. The enigmatic form not only puzzled the audience but also irritated the architecture – comparable to an ulcer inside the body, growing, getting bigger, causing permanent friction and pain. With his satirical light and sound installation Konfuse magnetische Wirbel (chaotic magnetic vortices) Roland Boden/Institut fuer Subreale Urbanistik embraced a whole span from medieval times to the present day thus initialising critical reflections on the symbolic charging of the place and its interpretations. The project has been and still is supported by the Bezirksamt Treptow-Köpenick, notably by the Abteilung für Umwelt, Grün und Immobilienwirtschaft as contracting party, the Kulturamt (Cultural Office) which financed the raumlabor exhibition, and the Senatsverwaltung für Wissenschaft, Forschung und Kultur whose project funds made possible the other four exhibitions in the run of 2006. |
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LÜ 5/06 Sofia
Hultén: Events With Unknown Outcome 04. - 28.05.2006 In the frontier watchtower Sofia Hultén presents a four-part video as a result of her observations in the adjoining park. Four monitors extend the panopticon of the view below on the second floor of tr former watchtower (more/pdf)  Sofia Hultén: Events With Unknown Outcome, 2006 (Detail) LÜ 6/06 raumlabor_berlin: Wohnen im Turm. Bauvorhaben: Wohnanlage Schlesischer Busch 08.06. - 30.07.2006 With the project “Living in the Tower. Building Intention: Housing Estate Schlesischer Busch” records the group of architects raumlabor_berlin for eight weeks the former border watch tower in Schlesischer Busch (more/pdf) (RBB-Kulturradio, 6.7.06)  raumlabor_berlin: Wohnen im Turm, 2006 LÜ 8/06 Dave Allen: One Way, Another Way, Then Any Other Way 10.08. - 03.09.2006 Under five bars on a single musical stave, with 25 annotated numbered notes, there are a brief set of directions for the musicians: "Read from the left to the right, playing the notes as follows: 1, 1-2, 1-2-3, 1-2-3-4 etc. When you have reached note 25, play the whole melody once again and then begin subtracting notes from the beginning (more/pdf) |
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LÜ
9/06 Tina Born: Pavillon Nocturne 07. - 29.09.2006 For the windowless room, simply equipped with loopholes, on the first floor of the former border watchtower, Tina Born has designed a crystalline body, an irregular dodecahedron with a smooth, shiny surface, which does reveal nothing about its inner nature (more/pdf)  Tina Born, Pavillon Nocturen (sketch), 2006 LÜ 10/06 Roland Boden/Institut fuer Subreale Urbanistik: Chaotic Magnetic Vortices 01. - 29.10.2006 Recently, there have been repeated reports of strange occurrences of heat and light in the area of Schlesischer Busch, the area between what today is called Puschkinstraße and Jordanstraße, and between Flutgraben and Bouchéstraße in Berlin Treptow. It is said that metal objects heat up abnormally, sometimes all the way to glowing, and incidents of lightning-like discharges and a grumbling and booming that seemingly comes from the ground are reported. (more/pdf)  Roland Boden, Chaotic Magnetic Vortices. 2006 |
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| 2yk Galerie Heidi Sill/Wolfgang Schlegel/Martin Pfahler: Finissage 18.11. - 17.12.2006 After a successful exhibition program with national and international artists, the Kunstfabrik am Flutgraben e.V. is now marking an end to its seven-year existence as art gallery. We would like to celebrate this appropriately with you, the supporters, friends and all enthusiasts of the 2yk gallery. Deciding as curators for contemporary positions lastly also had its seeds in the experience that we have from being artists ourselves. The mutualities and differences of both roles were the basis of our teamwork. This is why the team of curators - Martin Pfahler, Wolfgang Schlegel and Heidi Sill - would like to bid farewell from their audience with their own exhibition: Martin Pfahler transfuses moments of physical lability into the physics of spacial construction. In his latest sculpture collapsed structure he designs a space that acts as a piece of clothing which is both analogous and a counterpart to the human body. The functions of statics are reversed, the space is in the process of convolution. |
 Heidi Sill, Finissage, 2006 In Fassaden, Wolfgang Schlegel reconstructs marginal industrial products. The constructed perspective of the large-scale wall relief awaits the active participation of the perceiving observer. He becomes witness to the metamorphosis of view, in which self-recognition and irritation, foreignness and intimacy constantly alternate. With her works of art, Heidi Sill is on the tracks of the physiognomy of death in an artistic-scientific cooperation of the Brandenburgischer Kunstverein in Potsdam in 2006. Her work is based on forensic photographies, from which she didn't derive the spectacle of violence but a gentle, fictitious reconstruction of the human countenance - a manifold overlay of pathological traces, which in the end do seem to melt together into a human portrait. |
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2yk Galerie Open since 1999, the gallery offers 250 square meters exhibition space, thus being one of the biggest non-profit gallery spaces in Berlin. The exhibtions curated by own and guest curators invite to experiment with new forms of exhibiting and presenting art. The curators team of the 2yk Gallery 2006 was represented by Martin Pfahler, Wolfgang Schlegel, and Heidi Sill. 2yk Gallery Am Flutgraben 3 - 12435 Berlin fon: +49 30 5321-1592 fax: +49 30 5321-1591 2yk [ett] kunstfabrik [punkt] org www.2yk.de Transport connection: Bus 265 Heckmannufer/U1 Schlesisches Tor/ S-Bahn Treptower Park Nicolas Chardon Rob Voerman DESIGNMAI YOUNGSTERS Andreas Fohr: embedded Iris Kettner Michael Marwick - QUIET APOCALYPSE |
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Gasag Art Award 2006  Ulrike Kuschel: from the series Ausstellungshallen am Funkturm 1926-1954, 2006, courtesy of Ulrike Kuschel Ulrike Kuschel, Stand No. 130/Bibliothek Ulrike Kuschel’s work deals with German history, in particular Nazi Germany and the history of former East Germany. For Ulrike Kuschel it is alongside the historical research, rather important to use different reproduction techniques on the one side and to connect / confront photography and text on the other side. Her work "Ausstellungshallen am Funkturm 1926 – 1954" in the Art Forum’s library deals with the documentation of 31 exhibitions, fairs and political events from the years 1926 – 1954. Central to each poster is a quote from the relating exhibition or fair catalogue that indicates the political |
direction of the exhibition.
Hereby it is for
her rather important to point out the linguistic characteristics and
the thematic main focus. At the stand of Kunstfabrik am Flutgraben e.V.
she is represented with her work "Ausstellungshallen am Funkturm, 3
Kataloge (1936-1938)". Gitte Schäfer, Talk Lounge Both in painting and sculpture as well as installation work, Gitte Schäfer transforms familiar predominantly folk objects and motives into subtle transformed, abstract artefacts. The artist disassembles the objects, mainly found on flee markets, unerringly and rearranges them intuitively to new phantasy entities, that are taken out of their context and function. On this years Art Forum Gitte Schäfer designs the Talk Lounge with her piece "Der zerbrochene Krug", by letting the podium happen in a classical 'peek box'. An alienated stage is situated in the existing architecture of the Palais. The stage is equipped with carefully chosen requisites, that Gitte Schäfer chooses partly by superficial criteria such as colour and texture. In the conscious composed arrangement these requisites suggest – like emblems – a known, but not explicitly ascribed milieu: Suggesting a kind of room of a farmhouse or folk theatre. Just a kind of … though.  View of the Talk Lunge by Gitte Schäfer |
 video sculpture | architectural device | rotating figure inscribing a circle, photo: rem, Berlin, copyright: Peter Welz Peter Welz, Kleiner Stern Peter Welz is showing his piece "video sculpture | architectural device | rotating figure inscribing a circle" in the Lounge "Kleiner Stern" on this year’s Art Forum. The piece deals with the human figure in spaces. The artist documents with two cameras a moving human figure that describes a circle on a turning disc and at the same time is being moved by the disc. Thus a moment of standstill in full movement is being created. Through the variations of the cameras’ perspectives, Welz manages to show the human figure in its reverse position in the room. By projecting these different moving sequences on a wall construction, his work obtains an architectural sculptural character. The almost constructivist wall arrangement allows the viewer open sight on the technical, raw behind-the-scene construction. Peter Welz manages to show time through moving standstill with assistants of the medium video. Gasag Art Award 2007: Mandla Reuter Gasag Art Award 2005: Clemens von Wedemeyer Gasag Art Award 2004: Nezaket Ekici Gasag Art Award 2003: Judith Hopf Gasag Art Award 2002: Carsten Fock For further information look there: www.kunst.gasag.de. |
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| Contact | ** | The artists 2005 | ** | Navigation |
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| Office Kunstfabrik Am Flutgraben 3 - 12435 Berlin Monday to Thursday, 10 a.m. to 1.30 p.m. phone: +49 30 53 21-96 58 fax: +49 30 53 21-15 70 info [ett] kunstfabrik [punkt] org 2yk Galerie Am Flutgraben 3 - 12435 Berlin Thursday to Sunday, 2 p.m. to 7 p.m. phone: +49 30 53 21-15 92 fax: +49 30 53 21-15 91 2yk [ett] kunstfabrik [punkt] org Letzte Überprüfung Grenzwachturm Schlesischer Busch Am Flutgraben 3 - 12435 Berlin Do-So 14-19 Uhr fon: +49 30 5321-9658 LUe [ett] kunstfabrik [punkt] org |
Francesco Apuzzo, Almuth Baumfalk, Tania Bedriñana, Julia Beister, Tine Benz, Christine Berndt, Dagmar Binder, Harald Birck, Vicente Blanco Mosquera, Ronald de Bloeme, Roland Boden, Mari Brellochs, Katja Brinkmann, Laura Bruce, Salvador Cidrás Robles, Ben Cottrell, Katja Diallo (CBK-Atelier), Ulrike Dornis, Hannah Dougherty, Markus Draper, Norman Gebauer, Helga Geng, Christiana Glidden, Franziska Goes, Agnès Hardy, Martin Henkel, Eberhard Havekost, Martin Henkel, Herr Sphen, Olaf Holzapfel, Sybille Hotz, Christiane John, Jörg Kreutzer, Stephan Kurr, Wing Yip Lap, Ingrid Lill, Stefan Lux, Michael Markwick (CBK-Atelier), Barbara Morgenstern, Wessel Muller, Aino Nebel, Esther Neumann, Daniel Pflumm, Nicole Riegel, Jean-Christopher Roelens, Adrian Rovatkay, Viola Rusche, Sophia Schama, Wolfgang Schlegel, Margot Schmitt, Despina Stokou, Ines Tartler, Ona Tav, Axel Timm, Joël Verwimp, Vanessa Wood, Dominic Wood, Frank Zucht. | › 2008 › 2007 › 2006 › 2004 › 2003 › 2002 › german |
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| Product &
Vision Interfaces and boundaries between art and economy is the subtitle of the project Product & Vision, initiated by Mari Brellochs and Henrik Schrat and implemented in cooperation with Kunstfabrik am Flutgraben e.V. and a group of international artists, researchers and consultants.  Workshop at Cornelsen in April 2005 The project explored parallels in artistic and business enterprises. How do organizations learn, e.g. corporations, and how do individuals learn, e.g. artists? What does social responsibility mean within an art context, what does it mean in the business world? What sophisticated survival techniques have been developed in both fields? In the project, the business, the enterprise became a model, a starting point for artistic work. |
In a six
month process, participants focussed on the Berlin-based publishing
house Cornelsen Publishing for educational media. As "model business",
Cornelsen gave insight into its organisational structures and working
processes. Employees of the company were interviewed by artists and
consultants or directly involved into project development. The systemic
organisational consulting firm osb-i accompanied the project as
observer and conceptual advisor In September 2005, the results of the
focus on the model business were presented in an exhibition at the
Kunstfabrik am Flutgraben besides more general works relating to the
field of arts & business. Furthermore the reader "Sophisticated survival techniques. Strategies in art and economy", exploring the field from 22 different theoretical positions, has been published as part of the project at publishing house Kulturverlag Kadmos (appointment form). In March 2006 a second edition, entitled "Product & Vision. An experimentation between art and business" will be published at Kadmos as well. It is exhibition catalogue, project documentation and forum in one book. Further information at www.produktundvision.com Photographies: Kai Ziegner/Tobbias Kruse and Reinigungsgesellschaft |
 Product & Vision. Exhibition view  Project by the artist group Reinigungsgesellschaft  Exhibition's architecure, designed by Raumlabor and Beeke Bartelt |
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Überprüfung Barbed Hula/Sigalit Landau 19.05. – 10.07.2005 (extended) The slow circling hips keep the hula hoop running. It's weight hits the flesh and leaves indentations and bruises there. The barbs on it hurt the skin. But the motion keeps going on – endlessly, monotonously, languorously like the see in the background of the scene (more/pdf)  Sigalit Landau, Barbed Hula, 2003 kilid/Shahram Entekhabi 14.07. – 21.08.2005 „Security advice: Please watch out for abandoned objects and luggage in trains and at platforms. Use the SOS Telephone to inform us.“ This line accompanies the current programme of the “Berliner Fenster” [Berlin window], the public transportation TV of the capital’s subways, since the bomb attacks in London have happened. It is the subtitle of commercials, stupid celebrity news and recommendations for mostly third-class events and cooking recipes (more/pdf) |
 Shahram Entekhabi, kilid, 2005 offen/Ines Tartler 01.09. - 09.10.2005 The former watchtower in the Schlesischer Busch is equipped with sixteen windows and eight arrow slits. Now Ines Tartler has unblocked the building with a sparing gesture by opening the casements in the so called Freiwache (watch below) and by loosing the cotters in the middle floor of the watchtower (more/pdf)  Ines Tartler, offen (open), 2005 |
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Letzte
Überprüfung Letzte Überprüfung (Last Inspection) is a project of the Kunstfabrik am Flutgraben e.V., advised by Svenja Moor and Ines Tartler. The former watchtower in the park Schlesischer Busch is the starting point for artistic examination with borders in the form of site-specific, interventional, and situational presentations of international artists. In addition to this temporary projects a permanentdocumentation in the watchtower provides information about the watchtower's history. In this spirit, Sigalit Landau presented her video installation "Barbed Hula" documenting a performance on the beach of Tel Aviv. In front of the scenery of a wide opening horizon to the sea, the Israeli artist is “dancing” with a hoop made of barbed wire, its barbs cutting into her flesh. In summer 2005, Sharam Entekhabi installed the outline of a huge key on top of the watchtower. This "kilid" (key) was illuminated by a large number of bulbs in the colors of the Iranian flag (green, white and red). Directing to the west the key hereby linked the former cold war border with the problem of strategies of justification in present conflicts. In her installation "offen" (open) Ines Tartler went for a minimal but effective intervention into the given architecture. For the duration of her installation she opened all windows and skylights as well as the eight loop-holes of the tower, thus breaking open the architecture’s well-fortified sealing from its surrounding environment. With friendly support by the Bezirksamtes Treptow-Köpenick von Berlin, Amt für Bildung & Kultur and Amt für Umwelt & Natur. |
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| Kunst
im Bau On the occasion of the Lange Nacht der Museen on 29th January 2005 the Gasag and the Kunstfabrik am Flutgraben will celebrate the grand opening of the new restyled floors "Kunst im Bau" in the Gasag-Haus on the Reichpietschufer.  Frank Kästner, Haltung (Attitude), 2004  Esther Neumann, Seestück Waldstück (Sea and forest scenery), 2004 |
So the third round of the joint venture
of the Gasag and the Kunstfabrik, based on sponsorship, has been
reached and the art collection of the Gasag is extended by ten pieces
of art. Stefan Beck, Roland Boden, Katja Brinkmann, Daniel Buchheit, Frank Kästner, Esther Neumann, Adrian Rovatkay, Sarah Schönfeld, Heidi Sill, and Tristan Wolski in the fourth and fifth floor of the building, that stands under monumental protection put into practice their site-specific works of art. The basis for the project "Kunst im Bau" is established by a closed competition in the form of an annual announcement. It's adressed to artists, which are associated with the Kunstfabrik am Flutgraben e.V., the carrier of Berlin's largest studiohouse for fine Arts. The invited artists are requested to develop proposals for every two floors in the Gasag-Building. In this way not only a collection with current positions of contemporary art come into existence, but primarily a collection, which excels as visual response to the architecture of Emil Fahrenkamp, by the use of communication projects with the employees of the Gasag or by artistic interventions in their working and living reality. |
To choose the very best of the art work
behoove to an independent expert jury, in that were associated Gabriele
Horn (Executive KW Institute for Contemporary Art Berlin), Veronika
Kellndorfer (artist), Andreas Koch (Gallery Koch und Kesslau), Dr.
Eberhard Maria Richter (Gasag) und Ute Tischler (Cultural Department
Lichtenberg). Roland Boden, Bei Gasgeruch muß Hilfe her! (In case of gas smell call for help!), 2004  Katja Brinkmann, untitled, 2004 |
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| Gasag Art Award 2005 The Gasag Art Award which promotes and supports young Berlin artists goes to the film and video artist Clemens von Wedemeyer. Pauline Kraneis and Slawomir Elsner are both decorated with a promotional prize. The award ceremony will take place on September 29th, 2005 at 7:30 pm at the talklounge of the Art Forum Berlin, which will be designed by the laureates. The three laureates were selected in a two step procedure: The freelance curators Inke Arns, Ulrike Kremeier, and Johannes Schmidt, as well as the journalist Brigitte Werneburg nominated the following artists - each of them not younger than 35 years and with a Berlin address: David Adam, Hamra Abbas, Tobias Buche, Stef Burghard, Hannah Dougherty, Slawomir Elsner, Pauline Kraneis, Sebastian Lütgert, Eleonore de Montesquiou, Jenny Rosemeyer, Jorinde Voigt, Suse Weber, Clemens von Wedemeyer and Florian Wüst. |
As the jury,
the curators Zdenek Felix and Harm Lux as well as Martin Pfahler from
the 2yk gallery chose the laureates. The selection of the winners is made by a jury, consisting of the freelance curators Zdenek Felix and Harm Lux, and Martin Pfahler from 2yk gallery. The award ceremony will take place in the evening hours of September29th, 2005 at Art Forum Berlin. Gasag Art Award 2007: Mandla Reuter Gasag Art Award 2006: Ulrike Kuschel Gasag Art Award 2004: Nezaket Ekici Gasag Art Award 2003: Judith Hopf Gasag Art Award 2002: Carsten Fock |
 At the Kunstfabrik's stand  View of the Talk Lounge, designed by Slawomir Elsner |
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| Contact | ** | The artists 2004 | ** | Navigation |
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| Office Kunstfabrik Am Flutgraben 3 - 12435 Berlin Monday to Thursday, 10 a.m. to 1.30 p.m. phone: +49 30 53 21-96 58 fax: +49 30 53 21-15 70 info [ett] kunstfabrik [punkt] org 2yk Galerie Am Flutgraben 3 - 12435 Berlin Thursday to Sunday, 2 p.m. to 7 p.m. phone: +49 30 53 21-15 92 fax: +49 30 53 21-15 91 2yk [ett] kunstfabrik [punkt] org |
Almuth Baumfalk, Tania Bedriñana, Julia Beister, Tine Benz, Armin Bicker, Dagmar Binder, Harald Birck, Vicente Blanco Mosquera, Ronald de Bloeme, Roland Boden, Mari Brellochs, Katja Brinkmann, Salvador Cidrás Robles, Markus Draper, Jereon Fransen (CBK-Atelier), Norman Gebauer, Helga Geng, Franziska Goes, Agnès Hardy, Diana Hartung, Christiane Hause, Eberhard Havekost, Jeppe Hein, Herr Sphen, Olaf Holzapfel, Sybille Hotz, Patrick Huber, Christiane John, ++Kooperation PRIVAT (Jörg Finus, Torsten Hennig), Ton Kraayeveld (CBK-Atelier), Jörg Kreutzer, Wing Yip Lap, Ingrid Lill, Ute Lindner, Barbara Morgenstern, Wessel Muller, Aino Nebel, Julia Neuenhausen, Esther Neumann, Daniel Pflumm, Fred van Reijen (CBK-Stipendiat), Nicole Riegel, Adrian Rovatkay, Martin Ruge, Viola Rusche, Wolfgang Schlegel, Margot Schmitt, Heidi Sill, Despina Stokou, Jörg Suermann, Ines Tartler, Ona Tav, Axel Timm, Joël Verwimp, Ed Wiesinger, Corinna Wittke, Vanessa Wood, Dominic Wood, Bas Zoontjens, Frank Zucht. | › 2008 › 2007 › 2006 › 2005 › 2003 › 2002 › german |
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| Kunst im Bau The collection "Kunst im Bau" is continously growing. Meeting once a year, the jury selected the submissions of the following artists for the realization in the Gasag building at the Reichpietschufer: Stefan Beck, Roland Boden, Katja Brinkmann, Daniel Buchheit, Frank Kästner, Esther Neumann, Adrian Rovatkay, Sarah Schönfeld, Heidi Sill and Tristan Wolski.  Almuth Baumfalk, Konstruktionsanleitung (Construction manual), 2002 |
The independent jury consisted of
Gabriele Horn (Senatsverwaltung für Wissenschaft, Forschung und
Kultur/Administration for science, research and culture Berlin),
Veronika Kellndorfer (artist), Andreas Koch (Gallery Koch und Kesslau),
Dr. Eberhard Maria Richter (legal adviser Gasag) and Dr. Ute Tischler
(Kulturamt Lichtenberg, curator). Based on sponsorship the team project of Gasag and Kunstfabrik am Flutgraben e.V. goes now on its 3rd round. Since 2002 within the scope of an internal art competition the corridors of the Architecture Monument at the Landwehrkanal are the showroom for works of art. An invitation to tender is issued to artists who are associated with the Kunstfabrik am Flutgraben e.V., operator of Berlin's largest studio house.  Axel Timm/Francesco Apuzzo, Switch, 2003 They are invited to develop concrete suggestions for two floors each in the Gasag building. In this manner a collection of current positions of contemporary art and above all a collection of the company is formed, characterized by creativ reactions to the architecture of Emil Fahrenkamp, by cooperation and communication projects with the employees of Gasag or by interventions to their respective reality of work and life. |
 Alena Meier, Fluchtweg (Escape route), 2002 The increasing collection "Kunst im Bau" raises the interest of the public of Berlin. Thus more than 4000 visitors crowded the Gasag building during the "Lange Nacht der Museen" last January and took the opportunity to see the collection guided by an expert. The new selection of the art works is solemnly inaugurated in the framework of the "Lange Nacht" in January 2005.  Steve Johnson, Pedestrian Island No. 5, 2003 |
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| Gasag-Kunstpreis The Gasag Art Award 2004 goes to Nezaket Ekici, Laura Horelli and Gregor Hildebrandt Nezket Ekici receives the Gasag Art Award 2004. Laura Horelli and Gregor Hildebrandt will be distinguished with a Promotion Prize. The is donated by the Gasag is awarded in cooperation of Gasag and Kunstfabrik am Flutgraben e.V. It promotes and supports young Berlin artists who aren't older than 35 years. A jury consisting of Prof. Karin Sander from the Kunsthochschule Berlin-Weißensee, Prof. Tony Cragg from the Universität der Künste Berlin as well as of Petra Prahl from the 2yk Galerie of Kunstfabrik am Flutgraben selected the three winners from a list of 15 nominated artists. The three winners included the following artists had been nominated for the Gasag Art Award this year: Lutz Braun, Andrea Büttner, Heman Chong, Andrew Gilbert, Lise Harlev, Sofia Hultén, Claudia Hummel, Deborah Ligorio, René Lück, Kristofer Paetau, Astrid Sourkova, and Christina Zück. The Gasag Art Award is endowed with 5.000 €. The prize endowment of 5.000 Euro includes a work purchase by Gasag in the value of 2.500 Euro. Furthermore the Gasag finances a comprehensive art cataloque of the prize-winner. This year the promotion prizes endowed with 1.000 € each are awarded for the first time and underline the high claim of the prize to promote and support young and not yet established Berlin artists. An exhibition in the 2yk Gallery at Kunstfabrik am Flutgraben shows works from Nezaket Ekici, Gregor Hildebrandt, and Laura Horelli from September 10th to October 8th (Thurday to Sunday 2-7 p.m.). Gregor Hildebrandt  Gregor Hildebrandt, Es ist nicht alles Gold,
was glänzt, 2004If you write, "Not all that glitters is gold," in golden letters, it reads curiously paradoxical. As a general statement these words apply to many things and to many situations. But this work of art is at variance with itself, since it is written in 24 carat gold foil letters on a free standing wall in the gallery. The general truth of this sentence contradicts itself here.The strangeness this common-place dictum aquires as the artist's golden handwriting on the wall is emphazised by traces of work and smudges of grey on this wall. As the certainty of these words dissolves, the visitor is left with an odd feeling of ambiguity and dejection. Also Hildebrandt's second work is all about appearances and their deceptiveness. |
"The Mirror" reflects everything that takes place in front
of it. Yet the black surface built up of lines of videotapes doesn't
give a clearly defined reflection, but a fractured image. You have to
move up closely to see things clearly. Thus we do not see ourselves in
the usual way but as if a stranger emerges from the dark to draw us
into the mirror. Laura Horelli  Laura Horelli, Media spree, Work in progress,
2004Laura Horelli lets a random collection of documents speak for itself. The installation "media spree" shows a work of art in progress. A sequence of various documents demonstrates how the media landscape Spree slowly emerges and develops. Horelli visited the new media- and production places on the former industrial areal that hosts the building of the Kunstfabrik, too. In the 2yk gallery of the Kunstfabrik Horelli presents the result of her six month's research: A wall of images, brochures and texts in loose sequence. There even is a settee and chairs that belonged to the former 'Senats-verwaltung für Kultur in Berlin'. The stark presentation contrasts with the sometimes rather humorous and entertaining content of the documents presented - some of them unintentionally funny, like commentaries of people living near by, or like some of the exaggerated commercial poetry of advertizing material and real estate leaflets. Yet in her photography Horelli transcends the documentary. She focusses on apparently random details that reveal obvious contradictions to things claimed in brochures or in interviews, or that seem like symbols of things felt and said. |
Nezaket Ekici Nezaket Ekici, from the threepart work
"Schlaraffenland" (Land of milk and honey), 2004Ekici's monumental photography "Land of Milk and Honey" (Schlaraffenland) refers back to three of her former performances. In her performance "I had a Dream" (2003) Ekici knelt on a lawn and bit off individual leaves of grass, while she was watched by visitors of the Landesgartenschau Gronau-Losser. "180 Wishes" (2002) alludes to a Spanish custom on New Year's Eve. Those who eat 12 grapes as the clock stirkes Twelve, have 12 wishes free. In her performance Ekici tried to gobble up 12 kilograms of grapes in three minutes, thus pushing to its limits the idea behind this Spanish custom. Finally, "Emotion in Motion" (2000) tries to give bodily expression to the act of taking possession of a room and its furniture by kissing every single object and space. Seen as a whole, these performances express the oral act of taking possession. In "Schlaraffenland" there is an almost medieval sense of demonstrating temperance by showing intemperance. Those who cannot do anything in moderation will finally choke on an excess of grapes, of kisses and of self-imposed odd disciplines. |
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Art Forum Berlin |
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++Kooperation PRIVAT, Plantage 1 |
** | Nezaket Ekici On the Art Forum Berlin the Turkish artist Nezaket Ekici executes two performances. In the performance "Fountain", on the occasion of the private view to 17.09. at 18 o'clock, Ekici stands for as a kind of living sculpture on a white pedestal. She wears a transparent dress, which is compound from water-filled urine bags. Around her five water buckets suggest a well basin. In the process of the performance the artist, balancing with considered movements on the high pedestal, empties the individual closed with valves water bags of her dress, whereby aiming with the water jet into the buckets, that thereby produced plash noise and the taken positions consciously evokes the comparison with a piddling male figure. Parallel to the performance at the stall of the Kunstfabrik the photo editions "Fountain blue" and "Fountain pomp" (by courtesy of Andrea Breitengraser) are issued. Beside "Fountain" with "Believe #2" and "Emotion in Motion" two further performances in short film sequences are presented to, for which likewise the argument with the body as living sculpture is the basis. "Hullabelly" is the second performance of Ekici on Art Forum (20.09., 18 o'clock). Up to the exhaustion the scarf wearing artist swings a Hula Hoop to the sounds of Turkish belly dance music and accommodates the reverse opinions of sport, dance and physicalness to accordance. In a similarly clear way the homonymous phototrilogie "Orient and Okzident" correlate with (starting from 20.09.). Three complete body figures show the artist, in the characteristic style of old-masterly painting equipped with attributes, which retrieve the cliché of the Turk and Muslime, in order to dismantle it immediately again: The scarf wearing woman swings a Hula Hoop around her neck, those by the black garb of a Tschador completely cloaked believer exposed bangred made up lips and the coquettish movement of the belly dancer congeal in the gypsum arm. The films "Hulla Belly ", "Schleierkampf-Wedeln" and "Gypsum Belly Dance" presented at the stall dedicate themselves in different form to the topic of the cultural identity. Nezaket Ekici (* 1970) was just decorated with the Gasag Art Award. The award, endowed with €5.000, promotes fine artists from Berlin in the age of up to 35 years and is assigned since three years in co-operation by Gasag and Kunstfabrik am Flutgraben. The catalog "Nezaket Ekici. Gasag Art Award 2004" is available at the stall of the Kunstfabrik to the subscription price of €12. Gasag Art Award 2007: Mandla Reuter Gasag Art Award 2006: Ulrike Kuschel Gasag Art Award 2005: Clemens von Wedemeyer Gasag Art Award 2003: Judith Hopf Gasag Art Award 2002: Carsten Fock |
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| Contact | ** | The artists 2003 | ** | Navigation |
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| Office Kunstfabrik Am Flutgraben 3 - 12435 Berlin Monday to Thursday, 10 a.m. to 1.30 p.m. phone: +49 30 53 21-96 58 fax: +49 30 53 21-15 70 info [ett] kunstfabrik [punkt] org 2yk Galerie Am Flutgraben 3 - 12435 Berlin Thursday to Sunday, 2 p.m. to 7 p.m. phone: +49 30 53 21-15 92 fax: +49 30 53 21-15 91 2yk [ett] kunstfabrik [punkt] org |
Almuth Baumfalk, Tania Tania Bedriñana, Julia Beister, Tine Benz, Armin Bicker, Dagmar Binder, Harald Birck, Ronald de Bloeme, Roland Boden, Mari Brellochs, Katja Brinkmann, Markus Draper, Jeroen Fransen, Garderobe23, Norman Gebauer, Franziska Goes, Sparka Lee Hall, Agnès Hardy, Christiane Hause, Eberhard Havekost, Radka Hladka, Olaf Holzapfel, Sybille Hotz, Patrick Huber, Christiane John, ++Kooperation PRIVAT (Jörg Finus, Torsten Hennig), Ingrid Lill, Ute Lindner, Barbara Morgenstern, Wessel Muller, Aino Nebel, Julia Neuenhausen, Ester Neumann, Manuela Ostadal, Daniel Pflumm, Nicole Riegel, Adrian Rovatkay, Viola Rusche, Heidi Sill, Wolfgang Schlegel, Margot Schmitt, Despina Stokou, Ines Tartler, Ona Tav, Axel Timm, Joël Verwimp, Marion Westerhof, Ed Wiesinger, Corinna Wittke, Wing Yip Lap, Thomas Zawarty, Frank Zucht. | › 2008 › 2007 › 2006 › 2005 › 2004 › 2002 › german |
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| Kunst im Bau The project Kunst im Bau is a major concern of Kunstfabrik. The Berliner gaz company Gasag is building up a collection of contemporary art by inviting artists to show their work in the public spaces of the Gasag headquarter which is located in the former Shell-House at Reichpietschufer. The Shell-House is one of the most attractive architectural sites in Berlin. Every year two new floors (staircases, corridors, lounges) will be provided with new art works from artists that are selected during a competition run by the Gasag and the Kunstfabrik. The number of invited participants to this competition has triplicated in comparison with the previous year.  Tine Benz, Pipelines, Simulation, 2003 |
 Blank & Jeron, Energie (Energy), Simulation, 2003 Moreover, the participants are more international than before. The jury consisted of five people: Christian Hanussek, artist; Gabriele Horn, head of fine arts division of Berlin Senat; Andreas Koch, Gallery Koch und Kesslau; Dr. Ute Tischler, freelance curator and director of cultural board Berlin-Lichtenberg; Uwe Zeterberg, head of department Gasag. The works were judged for their aesthetic qualities, their reference to the place either by form or by content, their consideration of the architectural situation of a listed building and their compatibility with the offices. This year's winners convinced the jury by eye-catching proposals, including the whole spectrum from decoration to abstraction: Tine Benz, Blank & Jeron, Pierre Granoux, Geka Heinke, Steve Johnson, Florian Merkel, Markus Strieder, Caro Suerkemper, Axel Timm, Francesco Apuzzo and Maik Wolf. |
 Florian Merkel,
Maßgabe (Measure), Simulation, 2003
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