HB BUILD III Catalog August 2012
The HomeBase Project team Anat Litwin – Founder and artistic director Adrian Brun – HB Build Curator Heather MvKee – Associate Director HB LAB Nikki HEndrikx – Manager HB LAB & coordinator HB BUILD Bas Kools – HB Service, Design & Development Photography – Grzegorz Lepiarz – photogl.com
HomeBase Project email@example.com www.homebaseproject.org HomeBase LAB Thulestrasse 54 13189 Pankow, Berlin
SHAPE \* MERGEFORMAT Dear Guests, The HomeBase BUILD residency takes place at the HomeBase LAB in Pankow, Berlin- the year round base of the project. It includes 3 months of an artist-in-residency program in which International artists live-in studios and participate in weekly LAB Learn sessions, artist teach sessions, artist dinners, community work, studio work, salons and city tours, which all culminate at the HomeBase Festival. The artists engage in creative communal living and an educational / cultural program while having a ‘hands on’ collaboration in BUILDING the HomeBase LAB as an innovative cultural home. We are excited to expose the process and result of the summer HB BUILD III residency. At the heart of this setting are the sitespecific art works which are on display in the artists rooms and throughout the HB LAB accompanied by the ‘letters home’ - a direct correspondence with the idea of home, and a window into the residency experience. At the heart of this setting are personal relationships and moments which have been created with ultimate curiosity, compassion, devotion and care. I would like to take this opportunity to extend a special thanks to the HB team members for conducting this project on a highly voluntarily basis - a special thanks to Heather, Adrian and Nikki, for leading the HB LAB / BUILD residency, HB BUILD artists, Matthias Koehne, Mayor of Pankow Kerstin Lassing our advisor, Nadja Sayej from Artstars, Alexandra Pin, Dana our intern, and all the guest speakers and guest performers for nourishing our home. HomeBase Project was founded in 2006 and has been traveling since - from NYC, to Berlin, to our future destination in Jerusalem. As such, HomeBase can be seen as an art work in progress. HB Team members, the artists, neighbors, participants and you our guests are co-creators of the experience. We welcome you and thank you for joining us as partners on a journey home. Anat Litwin, Founder & Artistic Director of the HomeBase Project
– Artist Studio’s –
Curatorial The HomeBase Project at the LAB is based on the idea of dialogue with place. It operates as a multiculturally structured environment in which meanings are – partially – established and actions carried out. In this sense, this home – in constant development – is a function of spatial, social, and personal relationships, played out on the intimate level in private, as well as in the collective sphere in public. A home within a home within a place. The multidisciplinary and the diversity in backgrounds of the selected artists, all transported temporarily to a different context and space where the ‘sharing’ is inevitable, generates a situation in which living becomes a creation in itself, and the material consequences of it visualize the experience, representing simultaneously the traces of the process. Manifesting itself both on the material and intellectual levels, this particular home is at the same time strongly utopist, malleable and variable, expressing the needs and anxieties of the community located in it and that co-creates it. Mutual feedbacks, creativity, emotions and energy exchanges take place between the individuals of the community and the environment in which they function: One gentle common house in the neighborhood of Pankow, Berlin. The ambivalent characteristics of these processes – the grid of tensions and interactions between the environment and its inhabitants – functions as the main drive of the creative process, which refers to the category of private space as well as to that of public space, and to their mutual relationships. And on the next level: the neighborhood and its local characteristics, problematics and peculiarities. From a curatorial point of view, HomeBase does not classically curate the artist’s work once they become part of each three months long residency. It rather builds an artistic common living/working environment, through academic content and artistic support, in which the artists are free to create at their own needs and will, individually as well as in collaboration with each other and with the team. As a result of this multilayered artistic experiment, the LAB – completely transformed into a living installation itself – proudly open its wide doors to the public to let them discover the imprints of the experience. Adrian Brun, Curator HomeBase LAB Berlin
The HB BUILD residency The HomeBase BUILD residency includes weekly LAB Learn sessions, artist dinners, community work, salons and studio work. The LABlearn sessions have included a range of lectures, workshops and events relating to the exploration of home and meaningful urban living. From the epic idea of the ‘Journey Home’, to the art of domestic living, gardening and sustainability, to discovering the History of Pankow and meeting the Pankow Mayor, to questions of community, service of art, mobility and displacement, as listed below: Highlights of LABlearn sessions / HB BUILD III Summer 2012: (1) Journey as a form of Public Art / The Journey Home - Anat Litwin, Founder & Artistic Director of HomeBase Project (2) Home & Gardening - Cultivating the HB Green House and Garden - Jennifer Morone, Artist and Past HB team member (3) History & Tour of Pankow - Elske Rosenfeld, Artist, Researcher, Alumni of HomeBase BUILD I (4) Pankow as a Home - Matthias Koehne, Mayor of Pankow (5) ‘Community Art and Art in Public Spaces’ - Doris Koch, Artist (6)’Communities and Community Art” Pascal Gielen, Researcher (7)Art in Service / The Role of art in social change - Bas Kools, HB Team Member (8) Modern Consumerism and the individual obligations to achieve a sustainable world - Dr Daniel Friederich, Philosoph (9)Berlin Urban & Art Development - Kerstin Lassing, Urban Developer and Curator (10) Urban Change, Social Impact, Role of the Artist in Social and Urban Development’ = Esther BlodauKonick and Theresa Dietl (11) Modern Consumerism and the individual obligations to achieve a sustainable world - Dr Daniel Friederich, Philosoph (12) ‘Value of Art‘ / Management session - Artstar Host Nadja Sayej (13) ‘Berlin Migration and neglecting of permanent residents’ - Martin Wilhelm, founder of Citizens for Europe (14) Questions on Home as Shelter and Displacement - Todd Lester, founder of Free Dimensional. HB BUILD III community projects included: Documenting the HB LAB daily life on blog, Interviews with Pankow neighbors on topic of Home, Building the Garden Pavilion as a communal space, Gardening, Sustainable living, and more.
History of the HB Lab The building of the HB LAB located at Thulestrasse 54, Pankow survived two world wars and went through dramatic sociopolitical shifts. Built in 1890, it housed the Engelhardt brewery from 1905 -1949. It was directed by Mr. Ignatz Nacher who transformed the brewery into one of the most successful
in Germany before it was taken over in the 1930’s by the Third Reich in what became one of the biggest cases of Nazi expropriation. After WWII it became a communist brewery, a youth hostel of the Freie Deutsche Jugend (Free German Youth) and remained deserted for nearly 20 year after the fall of the berlin wall. In 2010 HomeBase project arrived from NYC to the space and inhabited the building with a diverse group of artists – turning it into the HB LAB which functions as the headquarters and research center of the project. The radical socio-political shifts in western society which left there mark in the building now function as a stimulating backdrop of the exploration of home.
HomeBase Project The HomeBase Project is a artist-run international sitespecific project exploring the notion of home. It asks to claim the role of the artist as architect and activist of meaning in contemporary cityscapes, emphasizing questions of identity, interconnectedness, social responsibility and sustainability, seeking to connect contemporary art to everyday living. To address this, HomeBase inhabits vacant urban sites in changing neighborhoods with a selected group of international artists, and transforms them into temporary cultural homes where a process of re-appropriation unfolds through research & study, site-specific art and community cultivation. Operating in the intersection of contemporary art and social innovation, HomeBase can be seen as an evolution of other social based practices such as Joseph Beuys notion of social sculpture, in relation to the Nicolas Bourriaud term of relational art, and in connection to notions of utopia and microtopia, such as Rirkrit Tiravanija’s utopian project titled ‘the land’. However opposed to artistic experiments and residencies that take place in remote areas, HomeBase is highly urban in nature - it was created out of a direct response to the complex challenges, and sense of alienation that are part of this era of extreme real estate development. HB sees the changing city neighborhoods as a canvas for exploration and creation. To research both the local and international aspects of these changes, we take on a nomadic approach - we travel with HomeBase from one city to another - from NYC, to Berlin, to our future project planed for Jerusalem in Summer 2013. HomeBasee is a non profit artistic movement which was founded in 2006. Join us as our journey unfolds.
*The Letter Home is a personal correspondence with home, written by the artist. The â€˜Letter Homeâ€™ replaces the curatorial text and is posted in the rooms, enabling the viewer another perspective and window into the creative process of the artist.
Welcoming room HomeBase Library HomeBase headquarters / Office Think-tank HomeBase Kitchen
HomeBase Salon Stage, Study program HB Conference Room
16 Live-in Art Studios HB BUILD Artist-inResidence Program
HomeBase Garden Greenhouse & KunstKompost
– Letter Home –
Hello Home, Its great to be here. Trees make all the Difference. That the highflying eagle does not need to worry about crossing rivers. Remember your history but you don’t need to ware it. Get out now. Do not be afraid to follow your path or to let the path follow you. Life is the prism; let your white light shine thru to reveal precious colors. Spirals in the architecture of time and space, the past the present the future is now. Technology and biology as one field. Mimic nature to be nature. Everything is energy and never dies it is just converted in to a new. Its great to be here. from : Franky cruz @ Homebase Lab Thulestrasse 54,13189 Pankow,Berlin,Germany
– Franky Cruz (USA) –
– Letter Home –
Dear me in the year 2013! How are you doing? I send you this letter from the past. Actually, we call it present here, but... Well, I know it’s a bit confusing. Anyway, I have a few questions that you (and only you) might be able to answer. You might recall that the summer 2012 was quite an intense time for me. I just moved to Berlin and sneaked my way into this artist-in-residency-program by making people believe that I was an artist myself. Interestingly, they kind of bought it, I think! Well, the thing is, I got pretty involved in this whole story myself now. I actually feel like being in exactly the right place. Maybe more than ever before. And this in Pankow!!?! You know, if I was to write this letter to the me in the year 2011, my first question would be: “Why the hell didn’t you do that earlier?“ Do you know those kind of people which would lie in their bed uncomfortably the whole night because they actually have to pee really urgently but are just too lazy to get up, because it still seems bearable and preferable to the effort of getting their ass up and walking the ten steps to the toilet down the nightly, cold hallway? Well, in my current house the way to the toilet is in fact bizarrely long but the whole point is that I have the impression that this sort of behavior is quite a metaphor for what I’m sometimes like myself. Am I still like that? Also you will remember that I started to seriously doubt the concept of home. You know, I mean home as a geographically fixed place where one permanently lives. Dear future me: Have I become a nomad? I haven’t stayed in the same room for more than one month recently and I really began to like this way of life, that’s why I’m asking. I’ve experienced (like I did before) that leaving things behind and throwing myself into something completely new, opens a window to reconsider my identity and to decide from scratch who I want to be or maybe rather to become more who I actually am. And I wonder: can one become addicted to this type of adventure or did you completely forget about this simple trick (like I did before)? Oh, and another question before I forget, my dear future-self: Are you tattooed? Do you still like it? Oh my, I have so many more questions: What do you currently answer when people ask
– Moritz Geiser (DE) –
– Letter Home –
you what you’re doing? Are you happy? Do you still see some of the HomeBase residents regularly? Do you have abs now? Would I be surprised if I met you now? With what kind of feeling do I look back on these three months? I could go on and on but I guess you’re terribly busy and stuff, so I’ll just leave it at this and say good bye. Kiss the cheeks of all our friends on my behalf. See you in 2013! Yours sincerely Me
– Moritz Geiser (DE) –
– Letter Home –
Eva’s Letter Home July 2012 To/ <Time...Past...Present...Future> <History/Ideology/Country/Memory/Photograpy/Family/ Reality/Creativity/Residency> <Dark, Light, Evil, Good, Hate, Love and other Emotions> (...Some ideas about being & feeling a Stepmother...) The history of the past will allways be there, as a scar that was once a wound that hurt somebody, but now has become a memory. Be it in the personal lives of peoples, families, cultures, countries, these scars have to be treated with patience, care and perseverence. To be able to build a new present we have to be courageous. From/
– Eva Gjaltema (NL) –
– Letter Home –
An Open Letter to a Space Previously Occupied by an Object The objects we speak of are never completed, never ‘finished’. They are completely occupied with a state of becoming. A constant state of re-contextualizing and assimilating. They are objects that wear suits of cultural Camouflage. They are Cultural Cameleons with zig-zaging migration patterns. Patterns which produce the objects we desire. Out of intersections, overlapping, and layering of our movements, new techniques and forms are born, new figures are shaped, new molds are uncovered. We often define these objects in relation to the previously occupied spaces. But what this object desires is only achievable through movement. So the object must be temporarily displaced, dislocated, disembodied for certain effects and procedures to be realized. Movement also implies change. It implies destinations, departures, and arrivals. There points A and B, but it is also A to B to Z, and back again. What is vital for this object is the accumulation of material: textures, theories, sounds, and smells. All absorbed into the skin, imprinted and stamped into a material memory, later to be uncovered as fossils of lived experiences.. This is the residual matter of which we create meaning and history. To be an object in motion, traveling through space, colliding with other objects and events is a production for the ambiguously awkward and unexpected. This object has no predetermined trajectories, because this would interrupt the unforeseen products of movements through space. However this object does have gravitational pulls. These forces come from the previously occupied spaces, and the histories associated with them. These gravitational pulls are also an accumulation. It can be possible for objects to have multiple and conflicting gravitational forces. But this is the destiny of an object in orbit. The objects speak differing languages. Sometimes several simultaneously. The way the object communicates and uses it’s language also mutates with changing contexts. They carry different symbols and gestures, different methods of communicating, different methods of movement, different methods of occupying spaces. Lang The object never sits still. Even when it is stationary, it shifts and moves in memory and meaning. Objects fall into the hands of viewers, audiences, spectators etc. They bear the fingerprints of correlations, alliances, dialogues, etc. They bear the analysis of a critical eye. The patina starts to show. ……………. – Brett Gustafson (USA) –
– Letter Home –
XXXXXXXXXXXXXXX To : Address unknown From : An asian adoptee abroad artist anonymous Berlin, Aug. 2012
longing for the belonging ? All the best, byol
– Nathalie Lemoine (BE) –
– Letter Home –
It doesn’t have to be pretty
– Olga Karayakina (RU) –
– Letter Home –
– Georgina Porteus (GB) –
– Letter Home –
I’ll never forget the afternoons me and my mother slept together I would always wake up before her I walked around the house in silence through the shafts of sunlight. By the end of the day, I could feel her future absence, I felt a void inside of me a pain just to imagine me in this world without her. I would always put my hand close to her nose to be sure that she was still alive...
Home for me has never really meant safeness.
– Camila Rhodi (BR) –
– Letter Home –
– Yuki Shiroi (JP) –
– Letter Home –
The light falling through my window. Cast Sky, dark clouds, a sudden flash of light, gone in the next moment. A tear in the clouds, blue sky next to dark grey. Beams of light coming as soon as they go. The idea of reality as concrete Utopia, endless possibilities being out there, when you are at the right place at the right time. A matter of seconds sometimes. Like a light shining into that moment, into your mind, clear and bright. These moments carry us further, towards a place in which we can unfold our realms of creativity and true sense of being. A place as peaceful and light as our heart in the most precious moments.
– Julius Weiland (DE) –
– Letter Home –
– Shintaro Yamakawa (JP) –
– Letter Home –
Remove rings, watches and wrist jewellery. Using warm water wet your hands thoroughly including palms, backs of the hands and forearms up to the elbow. Gently remove debris from under fingernails using a nailbrush under running water. Lather the hands and forearms with the cleanser for the length of two to six minutes and covering all surfaces. Vigorously rub your hands together cleaning palms, between fingers, the backs of your hands, thumbs and wrists. Scrub each wrist area. Scrub the forearm areas one at a time in a wrist-toelbow direction. Rinse the soap off keeping the hands higher than the elbows. Allow excess water to drip off at the elbows. Turn off the taps using the elbow or your foot. Pat dry your hands with a sterile absorbent towel. Wait for 1 minute keeping your hands up. Action.
– Adrian Brun (AR) –
– Letter Home –
I perch in Haus II and sing into the night.
Dear Billie, does my voice carry into your day? Curiousity was leading me and my imagination was feeding me. I had grown wings, that were reaching for new skies. A wind whispers, Trade Seattle sunsets For Berlin’s sunrise. When I air out, I travel through worlds in my body Sensations of 27 years or Billies’ generations more. Canyons and mountains from which I have opened bellowing or ringing becoming a Channel of emotion. Shots of air from my belly, Billie, mix with the airplanes, the jams from white boxes, the Pounds of wooden beams and OOmpfs of Dj’s getting breaks just right. Billie, your hazel eyes still haunt me. ‘Do you really want to go?’ Already I have left A small letter home. Carries a voice A chance to atone
– Heather McKee (USA) –
– Letter Home –
02-08-2012 Dear Home, Since the last time I wrote to you, in February this year, a lot has changed and at the same time nothing at all has changed. As I am not sure where you are I will keep looking, but, perhaps my way of searching has changed. I will explain you what I mean. The question is if a home can be made or is grown and if making and growing can or can not be intentional? Is home something you choose or is it something that happens? I believe in creating a place, but how do you choose where the place will be or is it even interesting for this to be a choice. I think this freedom of choice is an illusion that tempts me again and again to try to force situations, to create through breaking something. How can a process like this exist in a more constructive way, where the freedom is the freedom of being able to handle all imaginable situations in a way that satisfies me, that makes me contempt with who I am, where I am, what I am and who I am with. Dear Home, I cant say I don’t miss you but I certainly am not looking for you, or at least try not to. By now I am trying to trust the process of finding, a process that can perhaps be stimulated but can not be controlled. I might be lost with an absence of a home but feel quite grounded through my believe that there will be a time when you and me can find each other, be together and truly discover the meaning of home. Bas
– Bas Kools (NL) –
– HomeBase Build III Artists –
Franky Cruz (USA) Moritz Geiser (DE) Eva Gjaltema (NL) Brett Gustafson (USA) Nathalie Lemoine (BE) Olga Karayakina (RU) Georgina Porteus (GB) Camila Rhodi (BR) Yuki Shiroi (JP) Julius Weiland (DE) Shintaro Yamakawa (JP)
– www.dissectedcruz.com –
‘Warm eardrums capture freezing waves’
Franky Cruz (USA) Born on 1984 in the capital city of Dominican Republic Santo Domingo, raised by wolves in Hialeah, Florida. Awarded his BFA from New World school of the Arts, on 2011,Miami FL. An artist/ creator using the language tools of Painting (oil, acrylic, spray-paint), drawing, sculpture, and video, the process in witch I manipulate these mediums to create and collaborate with objects In an attempt to convey and connect communicate with the adhesion between all the cosmic architecture within all life and matter, might be sound, or full spectrum god and regurgitate it through the filter that is my experience to the observer.
In my atelier laboratory temple I am soaking up information with interests in life in decomposition, color, frequency, geometry, questions of origin. From the stardust that was before galaxy, to the first signs of life on this planet, dawn of civilizations, to the ecosystem of bacteria living in and on our bodies, to contemporary modern society. Since operating with naked eye researching and observing plants, insects, mosses, arachnids, molds and their interaction with creations of our world, the human world that seems to be outside of the order and chaos of the cosmic architecture. The smallest things give rise to the biggest questions. Regurgitating this information using paint, found materials and biology. Having a dialog with this objects as they interact amongst themselves. The destination is the journey. The answer is in the process, the observer gets the beautiful vomit.
– Moritz Geiser –
Moritz Geiser (DE) Moritz Geiser was born in Munich, Germany. He studied psychology in Vienna (Austria) and Munich and currently lives in Berlin. He works as an actor and performer. As a part of the theater collective “PressText” he performed in various plays and performances which were shown in Austria and throughout Germany. Their performances investigate the impact of political, economical and societal change on people’s
conception of life on a more private scale and make experimental use of various media such as music, dance and live video projections. Recently he has developed an interest in contemporary dance and video filming.
‘on moving-on‘ In his work „on moving-on“ performer Moritz Geiser experimentally investigates the relatedness of the internal mental world with the physical space in which one is moving in. The paths which ones thoughts can take, as well as feelings, memories, habits and reflexes are all inscribed into and stored by the spatial context in which they first developed. This can be on the scale of a room within a house or even parts of or
entire cities. As reflected in innumerous metaphors used in everyday language, the ability to transform, grow and to – literally – move on, is closely linked to a spatial relocation of the body as a host of the self. Indeed the body itself could be seen as a small unit of space, the only one, one cannot leave. Like any other place it acts as a chronicle, accumulating experiences, thoughts and emotions, thus constantly reinforcing ones current identity. At times this can also become a closed circle, in which the territorial borders of places turn into the limits of reality and imagination. Through a choreographic exploration, he questions the time to leave things behind. Be that things material possessions, a place to live, people, relationships, ideas or parts of the concept of the self.
– www.evagjaltema.com –
individual and collective experiences (history & memory) continues to be my focus during my stay at HomeBase. Concretely this means for me to do more research about the implication of (German/ European) history on the individual, found within certain places and buildings in Berlin and in my personal case finding my place (as a stepmother) within a city and family with a past.
Eva Gjaltema (NL) Netherlands, 1979. Eva sees photography primarily as a medium for recording time, memories and transience. She works with time on different levels, using her own memories and interpretations of the visible world and combines her own views with the general view on (collective) history. By also employing found images and materials, she combines the role of photographer with that of a collector, researcher, editor and curator. Eva majored in Cultural Studies at the University of Amsterdam and Photographic Design at the Royal Academy for the
Visual Arts in The Hague. She has participated in different (group) shows in Gemeentemuseum Den Haag, de Kunsthal Rotterdam, Noorderlicht photofestival Leeuwarden, Noorderlicht gallery Groningen & Le Garage in Arles. Her work ‘Famylje’ is part of the collection of the Fries Museum in Leeuwarden, the Netherlands.
‘Trautes Heim, Glueck allein / Home Sweet Home’ ‘The struggle is now, the past is made in the present. (Family) photographs may affect to show us our past, but what we do with themhow we use them- is really about today, not yesterday’ - Annette Kuhn My interest for cultural history in the form of hidden narratives that emanate from
By working with different (time) layers and discussing subjects ranging from the ‘Siedlung’ to ‘Märchen’ to a found family album where I write a new history with, I want to show how the past still has an influence in the present be it the individual or the collective.
– www.referencebureau.org –
show a direct relationship to the urban processes of Berlin, which are full of brutal contradictions, but also moments of cloaked elegance. The final project is the design and construction of a garden pavilion for HomeBase Berlin. The pavilion will serve as a highly flexible structure for leisure, urban gardening, and performance, for the future artists in residence.
Brett Gustafson (USA) b. 1986, North Dakota, USA. Lives and works in Chicago, USA. Gustafson studied painting and sculpture at universities in Oregon, Minnesota, and Berlin before receiving a BFA from the University of Minnesota in Minneapolis in 2009. He is currently a Masters of Architecture candidate at University of Illinois Chicago. At times his work is easily defined in terms of disciplinary boundaries, but at other times it attempts to find a curious position between the ambitions of visual art and architecture.
‘Pankow Free Jazz’ By using Pankow as the site for a series of formal experiments that take form in drawings, sculpture, and constructed architectural space, Gustafson attempts to find new territories between these formal disciplines. Collage informs Drawings and painting, drawing and painting informs sculpture, sculpture informs architecture. With in this process more specific projects come to fruition. Like Neu Flanuér Exercises which builds on the Situationists invention of the Deríve and formally activates the artist’s paths through Pankow. Collages built from images found around Pankow serve as starting for further projects but also
– www.starkimproject.com –
Nathalie Lemoine (BE) Mihee-Nathalie Lemoine’s artistic journey started in 1989 with her first shortfilm Adoption. In 1996, she curated an adoptee artist exhibition West to East. Lemoine established the artist groups KameleonZ, Han Diaspora and KimLeePark Productions and has held 12 solo exhibits, participated in numerous group shows nationally and internationally. In 2000, “ze” published an essay 55% Korean and in 2001 published with Kate Hers an annual OKAYbook, a guidebook on Artists from the Korean Diaspora. Lemoine believes in art and social justice. Currently, Lemoine is living in-between countries.
‘100 espace(s)’ In continuity of my body of work, I pursue themes of “forced separation,””missing,” “emptiness,” “no-(wo)men’s Land,” and “in-betweenness.”
– www.olkaryakina.wordpress.com –
organizations involved in the construction of natural materials, bringing together artists, designers, and people who deal with plants, materials and technologies. The aim of her work is to trigger a social transformation where people communicate more creatively and overcome social barriers. As a Russian artist, she thinks this is especially important for her country where people are more closed off to communication compared to European countries. Olga would like to draw attention to simpler and more democratic forms of art, which contribute to the free expression of the creative abilities of people, making their communication brighter and more positive.
The flow’ The project expresses a feeling of continuous migration, opposed to stability and sedentary.
Olga Karayakina (RU) The driving force of Olga’s work lies in the interest of relationships between different fields of arts, such as architecture, book design, painting, semantics, photography and environmental design. Her project focuses on creating communicative spaces in urban environments. Her
design philosophy is based on the fact that an artistic activity is able to create a creative space around itself. This space can be open to other people and activate creative communications between them. Thus there is an open art laboratory. During the construction of these objects, she uses natural materials, which deals with environmental philosophy by way of natural creative process. She works with organizations that are engaged in crop production, as well as architectural
This idea strongly connects with the meaning of “home”. Traditionally, the concept of “home” is associated with stability. But in the situation of continuous migration the meaning “home” says more about the way of how you adjust to new situations, personal behaviors, and objects we have to leave behind or to keep. Living in the flow means, on one hand an integration and on the other hand capacity to penetrate into the new environment, adapting to the changing space, the people and the culture.
– www.georginaporteous.com –
(excessive quantities of egg in a pudding could either make it too rich or cause it not to set correctly). -The Oxford DictionaryGeorg-ina Porteous by use of a durational performance will respond to her experience of home. The aim of this piece is to question whether our need for belonging and identity can be met in a more simplistic way and to raise awareness of the possibility that we may be being delusional by changing environment or consuming unnecessary possessions in the quest to create home. Behind the door of Room No.3 unfolds a kaleidoscopic vision within the workings of an internal journey.
Georgina Porteus (GB) Georgina is a site specific Artist based in the Highlands of Scotland. Her Installations use film, automatic drawing, found texts, objects, people,
performance, conversation, sound sculpture and many more forms, prompting a counter-intuitive response. “My inspiration can be found in the most unexpected places and yet all is very much linked and connected. Not only are my site-specific works an intervention of a physical space but an insertion into the minds of all who partake. All my work is connected then disconnected with each individual’s interpretation and experience; thus encapsulating the essence of memory and making memory in the process.” ‘over-egg the pudding’ Used to suggest that one has gone too far in embellishing, exaggerating, or doing something
Pudding Recipe - 1 x Whisk, 1 x Bowl, 1x piping bag, 1 x Hook. Safety glasses. - 23 x puddings. 45L of Milk. 100L of Water. 32kg of sugar. - Mix all of the above in a bowl with whisk and add to the piping bag and unravel the pudding on the floor. - Observe
– www.camilarhodi.wordpress.com –
‘Over 18 only’ ‘Over 18 only’ is a multimedia performance based on the artist’s first childhood sexual experience, but also about her personal affairs/almost-affairs in Berlin. The project will be presented in simultaneous performances, installation, and video work. ‘Over 18 only’ is an autobiographical portrait that explores the artist’s relationship personal histories, cultural forces, media, and solitariness. The performance is composed of writing produced consciously and unconsciously, performative portraits, interrupted silences, and painful romantics of images of the body.
Camila Rhodi (BR) Camila Rhodi takes part on the collective Das Ist Doch Keine Art, with the U-bahn Antigone in the Month of Performance and Neukölln 48h in Berlin. Her last solo performances was in the Fashion Week wearing the icelandic collection STEINUM. In August she will present the urban intervention T-Bana Antigone in the STOFF in Stockholm. Camila Rhodi is an actress, performer, researcher and cultural producer by Projéteis Cooperative of Cultural Entrepreneurs from Rio de
Janeiro. She studied Drama in Martins Penna Theatre School in 2004 and is post graduated in Aesthetic at University of Rio de Janeiro. Since 2005, develops a work based on her autobiography. In 2008, did her first solo presentation A Filha da Chacrete soon after writing the monograph The Process of Creating the Scene from an Autobiographical Performance. In 2010, sponsored by OI Futuro Institute, she did A Dona do Fusca Laranja, an autobiographical performance in three acts.
– www.yukinando.com –
Yuki Shiroi (JP) Born in Tokyo Japan 1977.Â Living and working in Berlin. Yuki Shiroi holds a Bachelors in Illustration from Willem de Kooning Academy in Rotterdam, Netherlands. She has several years of experience working in the field of graphic design and illustration. She specialize in hand-drawn illustrations and paintings, with fictional worlds and characters. She feels that creation is the best way to represent a perception of life and ways of inhabiting in this world. Her aspiration is to share her fictional worlds and hidden stories. She hopes to find a connection with viewers through this creative process.
Transitionâ€˜ Everybody has their own timeline of history of life. To change professions, to move to new place, or to start a new chapter in life. Yuki is focused on the transitional moments between these new and old situations. The moments in between here and there, before a person moves in a new direction in life. Acquiring the customs of the new life, speed of dissolving memory, nearly forgetting the smells and languages of the previous place. Thus adapting to a new state. Every transitional moment is in an individual part of a whole life in progress. A personâ€™s previous customs will transform unconsciously. I find this moment is a significant step to the progress of your experience. I will represent a timeline of the transitional moments and passing of time in Berlin.
– www.juliusweiland.com –
Grenzhausen, Germany. In 2011 he realized a commission work for the Ritz-Carlton Hotel in Hong Kong. Since 2000 he lives and works in Berlin.
‘Windows’ Relating to the idea of home of Ernst Bloch I want to work with the daylight of the room I’m living in. In his work The Principle of Hope he defines home as “concrete Utopia”, which in his words is about the conversion of the world into home – a place that seems to be in childhood, but where actually no one has ever been. He understands it as a process of realization and real possibilities. One of the categories of possibilities he calls “objective-real” which can be also seen as matter. For him matter is already self-creative and this can become visible in Art for example.
Julius Weiland (DE) Born 1971 in Lübeck, Germany. From 1995 – 2001 he studied Industrial Design at the Academy of Fine Arts
Hamburg. Since 1998 he is working in glass and received several prizes for glass art in the recent years. He’s interested in processes and materials and recently light became next to glass one of his favorite mediums. In 2009 he was guest lecturer at the Institute for Ceramic and Glass Arts in Höhr-
I plan to change the incidence of light coming through the two large windows by filling the space between the doublewindows with fog. By sealing the windows the fog shall become very dense and can be extracted by an installed suction again. Thus I want to create a slow or sudden change of the light situation in the room. The use of the daylight and the interaction with the fog can be seen as a reflection on the thought of Bloch’s concrete Utopia.
– www.arsequake.wordpress.com –
‘Grid = Chaos’ Making drawings to connect my art and home, Incorporating movements of hands while doing some household activities, Connecting with technologies that are found in everyday surrounding. ‘SHAMO’
Shintaro Yamakawa (JP) Shintaro Yamakawa was born in Aichi (Japan) in 1980. He moved to Kingston/ Pennsylvania (USA) in 1996 to study at a Methodist Christian high school. He then moved to Kingston/ Ontario (Canada) in 2000 in order to attend Queen’s University and received his BFA. He received his MFA at Chelsea College of Art and Design in London (UK) in 2007. He has exhibited his works in numerous venues in Canada, the UK and Germany. He identifies as Buddhist and meditates regularly. Through drawing, sculpture/ installation, and photography, he aims to free from resentment and to express a sense of ecstasy, empathy, and universal compassion in/through his works.
Romanticizing something that is forgotten. Imaginatively destroying everything with forces like earthquake, feeling of disorientation, dismemberment and disembodiment, followed by a sense of fusing with everything around, that leads to empathy and ecstasy: Bacchanalia. Romanticizing what is disregarded. No resentment nor protest. Feeling senses of body, appreciation of life. Mushy mushy. Drawings become parts of radio and lighting. ! want to feel music.
HB BUILD III Catalog August 2012