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ART CAM P WWW.KUNSTCAMP.COM

DOCU M E NTATION WILHELMSBURG | HAMBURG


AKAAK | ALBAN MUJA (KO) | ANDRECO (IT) | ASTRAL TAXI & ADA | BLOCKPARTY: DJ DEATH & STOECKER STEREO | BÜRGERMEISTER DER NACHT | CFM | COCKFIGHT GLADIATORS | CRYSTAL TITS (US) | DANIEL CREMER | DIRK EBHARDT & MATTHIAS BERGMANN | EASTER (NO) | ELFFRIEDE.AUFZEICHNENSYSTEME (AT) | FRL. WUNDER AG (BR/D) | FYNN STEINER | HAIL SATIN | HALLO WERNER | HONEYHEADS | JAKÖNIGJA | JOACHIM FRANZ BÜCHNER & LA FOTE | JULIA HERFURTH | KRAUTZUNGEN | LANA CMAJCANIN (BA) | LAWRENCE | LEA CONNERT & MAXIMILIAN GADOW & DAVID MOON (US) | LENIKA LONG | LENA MORITZEN | MATTHIAS HÜBNER & JULIEN FARGETTON (FR) | META DUB DAY: KINGS OF DUBROCK (RICA BLUNCK, VIKTOR MAREK, JACQUES PALMINGER), DUE NUTTI SOUNDSYSTEM, VIKTOR MAREK & ASHRAF SHARIF KHAN (PK) | MÓKA FARKAS (MIT DJ BEYKIN) (HU) | MONOLITH SOUNDSYSTEM FEAT. DJ SKL & SCUM PI | MYKKI BLANCO (US) | NEUTRONICS (MICHAEL ROTHER, THOMAS BECKMANN, CAMERA) | NICO DE ROOIJ (NL) & DJANA COVIC (AT) | PARAMIDA | PASCAL FUHLBRÜGGE | PIOTR KOTLICKI (MIT ALEKSANDRA CHCIUK & PAWEL CIESLAK) (PL) | RATKAT | ROBIN HINSCH & DJ COLA | ROCK & WRESTLING | RSS DISCO | SEBASTIÁN MUHR (CL) | SMALLPEOPLE | STEFFI HOBUSS | SUTSCHE | SWAHIMI DER UNERLEUCHTETE | TESTSIEGER | TILMAN TAUSENDFREUND | UMSCHICHTEN (PL/TR/D)

ART CAMP 8 days of lineup (public Art Camp); Approx. 8,000 visitors; 14 concerts; 37 DJs; 1 demonstration; 1 parade; 5 rounds of Rock & Wrestling; 1 cockfight; 127 artists and artistic collectives from Austria, Bosnia-Herzegovina, Brazil, Chile, Germany, France, Hungary, Italy, Kosovo, the Netherlands, Poland, Romania, Turkey, and the United States; 11 installations; 1 of which was a bed for the night for artists and the team; 6 performance artists; 1 of which was a Camp sha_man; 1 MS DOCKVILLE archive exhibition; 4 speakers at the table talks; 15 communicators; 1 catalog; 132 guided walks; 4 of which were kids’ walks; 15 guided bike tours/excursions with Frl. Wunder AG; 3 talks; 1 table talk; 13 scrolls of feedback; Approx. 350 feedbacks 1 project on the district of Wilhelmsburg; Exclusively local restaurants (Vlet, Filet of Soul, Elbgold, Most of Apples) on-site; 90 aides and artisans; 12 participants from the International Building Organisation; 6 cooks The Art Camp expanded its realm of activities within the MS DOCKVILLE Summer 2013 under the slogan “Unkraut!“ (ger. “Weeds!”). Starting in spring, the Art Camp and other MS DOCKVILLE Summer formats began to resuscitate abandoned industrial areas and, for the first time ever, former laboratory buildings.


In April, we did the Roskilde road trip in cooperation with Roskilde Festival, Denmark: a week of workshops, performances, concerts, and parties. That was the kick-off to a collaboration spanning the summer months. We jointly invited the Stuttgart-based architectural collective umschichten which, along with volunteers, developed a prototype Art Camp bed for the night which we and other helping hands multiplied over the course of the summer. By the beginning of July, a total of 16 modules were readily set up in a circular shape and, as such, constituted the largest Art Camp installation, the “hedgehog“. In parallel with the opening of the International Garden Show, we established the MS DOCKVILLE archive exhibition on the ground floor of the laboratory building and opened it on the subsequent summer weekends in order to showcase the developments in the MS DOCKVILLE cosmos throughout the past seven years. At the end of June, we ventured to Roskilde Festival, Denmark with a group of well over 25 (the artistic ensemble umschichten, the two performers Jeremy Wade and Miguel Gutierrez as well as an MS DOCKVILLE Art Camp team) in order to locally implement the performative installation collaboration “Maximum Service” at the “Church of Beer”. Alongside hundreds of festival visitors, we gave rise to a temporary structure in an intense group experience. For the first time, the MS DOCKVILLE Art Camp organizers had the chance to implement an international project in cooperation with a strong nonHamburg based partner. So at the beginning of the in-house Art Camp at the end of July a part of the team had already jointly worked on several projects over the course of multiple months. With this in mind, we saw this year’s meta-topic “Unkraut!” as a novel mode of working, allowing for the creation and exploration of new artistic practices. The overlapping of different artistic approaches was common practice for a large amount of artists we invited: they ventured into new disciplines, dedicated themselves to the odd and unbearable and deconstructed their very own (artistic) environment. The interest in connations and rank growth is well reflected in the interdisciplinary format of the MS DOCKVILLE Art Camp: music, art, festival, open-air exhibition, and a communal work and lifestyle have now merged into one organic unit. More than 90 artists, aides, and artisans with varying cultural, social, and artistic backgrounds lived and worked together during the ten-day in-house Art Camp. Additionally, twelve pairs of helping hands from the Belgian, Italian, and German International Building Organisation supported us for the first time. It is Art Camp’s cause to shape a communicative and artistic process and to afford a context which facilitates getting in touch with other creative and interested people. Projects can be rethought, discussed, and modified here. And at the same time, all involved shall have enough time to enjoy the genuinely special atmosphere of the Art Camp terrain. Building on the 2012 topic “Either. Or.”, which helped illuminate the dilemma of finding and dissolving categories, “Unkraut!” is a term that elicits ambivalent associations. Lana Cmajcanin’s work “Perspectives” seized the topic of contrary appreciation and illustrated how these differences in perception are related to fears and attributions. Weeds are useless and thus often ignored or wiped out. But “bad weeds grow tall”. This age-old wisdom transformed Julia Herfurth’s “Herbarium” into a new artistic dimension in many respects. Transformations, such as that of Móka Farkas and Sebastián Muhr, also saw “Unkraut!” as a mode of practice persist. The two artists formidably illustrated that by means of the indeterminate impact of schnapps distilled with selected herbs and a new gearing of ready-for-the-scrap-heap bicycles taken apart. Growth and dynamism were impressively demonstrated in Andreco’s work “New Natural Symbolism”.


Plants sprawl and transform an artificial construct, and will continue to do so over the next few years; the direction of motion remains random, though. Just as artificial, though not overgrown, did Lenika Long’s smoldering crater “Intervello” soar. The artistic collective Krautzungen created a closed space, which captured the notions of the White Cube and the gallery discourse, entitled “Galerie des Tages”. One new exhibit – ranging from photos and paintings to live performances and concerts – was added to the collection every day. Julien Fargetton and Michael Hübner hid a machine up in the trees irregularly tossing balls on a designated court, thereby startling visitors while at the same time inviting them to spontaneous interactions. In cooperation with our visitors, Frl. Wunder AG developed a bike ticket for Wilhelmsburg’s unappreciated spots. Bike tours were used to entice our visitors to these unnoticed locations. Alban Muja created a recumbent steel installation from the team’s favorite spots, which resembled a metro system layout. The closing party of the Art Camp was intended to witness the formation of a mini-ramp with the collective Blockparty. It soon became clear, however, that this idea was sprawling: a whole landscape was erected, including water fountains which served as yet another art work on the terrain, growing rampant while frequently being used. The installative works were complemented by an eight-day program featuring a multitude of concerts, performances, and parties. At the opening, the Kings of Dubrock (inter alia feat. Jacques Palminger) staged a dub ceremony lasting several hours, which accompanied the visitors to the Art Camp atmosphere. The following two evenings saw an equally pun-oriented elffriede.aufzeichnensysteme perform her very own house rules of the Art Camp allotment club at the Lakki Bar. The “Maximum Service” series by Jeremy Wade, who accompanied us to Roskilde, was carried forward by Daniel Cremer, our camp sha_man: Cremer moderated an exclusive collective reading, inspired by Burrought’s cut-up method, in the “hedgehog” interior. After an evening of installation and jam by Neutronics (feat. Michael Rother, Camera, and others), “Suitcreature” – an auditory sculpture y Piotr Kotlicki – was established in the nest. Many of the artists and visitors present played an active part in this while the band again snatched their instruments and jammed – a highlight of the Art Camp in many respects. Butterland Open Air with more than 2,000 visitors and the queer masked ball “Vogelball” with almost 3,000 visitors were the two event days most attended. Scenographer Lena Moritzen created an “organ” of thousands of balloons, pantyhose, and confetti for the Vogelball, which either invited to interactions or was open to be used as a costume supplement. A bunch of communicative dance birds, either readily dressed or ready to be morphed on-site, drifted across the summer night and thus dissolved any boundaries – between man and beast, between man and woman, between guest and visitor etc. In addition to the interaction of art, networking of the most various participants on a level playing field is crucial to us. Our concept of critical art conveyance allows for a sustainable discourse on the question of “What is art?” and especially on the individual starting and meeting points of all parties involved in the Festival. A communication center was established this year for the first time ever, which featured a feedback system, invited to label, and permanently provided communicators open to all visitors interested. Opportunities for access and participation were offered on many levels: guided walking tours on the installations around the Art Camp terrain, insight talks with the performers or a three-course meal featuring a table talk on “Unkraut!”. Children were invited to participate in designated kids’ walks which allowed the little ones compile their own weed book. We were particularly thrilled that so many families took advantage of the weekend openings to explore the Art Camp this year.


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For a download of the entire press review, see here: http://tinyurl.com/KC2013-PS Art Camp is a project of: Kopf & Steine GmbH Max-Brauer-Allee 277, 22769 Hamburg, Germany www.dockville.de/art | www.kunstcamp.com Art direction: dorothee.halbrock@dockville.de Press: susanne.schick@dockville.de Text & editorial team: Dorothee Halbrock, Susanne Schick Works of art/artists: »perspectives« Lana Cmacjanin, »Wheel Machine« Sebastián Muhr Pictures: Pablo Heimplatz, Tim Kaiser; Layout: yytt.de We would like to sincerely thank our partners and sponsors:


ART CAMP 2013 · DOCUMENTATION