444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz

GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ

Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS

Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH

Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan

YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert

EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS

Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS

Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina

STEINACKER ULRICH Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN &

Sandra GREILING) Nalan YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ

Márton Jan EHLEN Mert EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST

KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze

ÖZER PALATINUS Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna

SCHWARZ Bettina STEINACKER ULRICH Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN

(Annika JANSSEN & Sandra GREILING) Nalan YIRTMAC 444m Alkotócsoport ATILKUNST Clemens

BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz GÜL Koray KANTARCIOGLU Evrim

KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ Zsolt Anne LOCHMANN &

Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk

SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH Ákos VÖRÖS

Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan YIRTMAC 444m

Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz

GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ

Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS

Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH

Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan

YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert

EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS

Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS

Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina

urUtopia & RealityIstanbul Pécs Ruhrgebiet

„UR - Utopia and Reality. Istanbul Pécs Ruhrgebiet”

Published by: Katja Melzer, Robert Bosch Cultural Manager, Lenau House PécsConcept + Editing: Katja Melzer + Zita SárváriGraphic design + Layout: WannatalkaTranslations: Deborah Anne Bowen, Zsófia Rudnay

Print: Professional Publishing Hungary Kft., Budapest 1037, Montevideo u. 3/b©2011, Pécs, text and image copyright by the artists and the authors Limited Edition: 3.000 copiesOur blog: http://utopiamag.wordpress.com/

The ideaIn 2010, two cities and one region received the title “European Capital of Culture”: Pécs (Hungary), Istanbul (Turkey) and the Ruhr region (Germany). For the cities involved, 2010 was the year of transition, of de- and reconstruction. During the preparation period, each city tried to develop its own profile. For these cities, the year 2010 was in great part defined by regional and international initiatives as well as by a rich cultural program. Next year, Turku (Finland) and Tallinn (Estonia) will follow this European cultural initiative. But what will happen to the former European Capitals of Culture?

Based on the assumption that the inhabitants of each city gained very different impressions of the past year, the project “UR - Utopia and Reality” – consisting of a magazine and a blog – aims to provide a platform where ideas and thoughts on the cities can be exchanged. We intended this publication to be less of a documentary, and more like a pool of international ideas and designs – from city dweller to city dweller of the Cultural Capitals 2010. The objective is to create a space for discussion, in which the concept of the Cultural Capital of Europe in general, and the future of each city in particular, will be reflected on.As contributors to this project, we aimed to find people in each city who were sensitive to the temporariness of these kinds of events and could articulate their ideas about this socio-cultural phenomenon. To share their impressions of the year 2010 we invited artists, architects and photographers from Istanbul, Pécs and the Ruhr region. We were curious what these people with different cultural backgrounds thought about the influence of the year of European Capital of Culture, and the sustainability of this influence for the future. Our interest was not only in taking a retrospective look, but also in focusing on the general features of each city. We gave license to the invited artists to share their projects in whatever way they would like, to compose utopias, realizable or fictive plans connecting to the present, or the future. This was quite an experimental approach, but we wanted to give space to the artists to develop their thoughts on what was really important for them.

The participantsWith nearly 13 Million inhabitants, Istanbul is by far the largest of the three ECC cities. Istanbul, the centre of culture and business in Turkey, maintains a distinguished position among world metropolises with its unique geographical location and cultural heritage spanning thousands of years. The events of Istanbul took place under the motto of the four elements – Fire, Air, Water, and Earth – in testament to the cultural diversity of the city. Contrasts also play a determining factor in the socially critical review of architect Mert Eyiler. The local differences between the districts of Levent – one of the main business districts – and Gültepe – an underprivileged district – have shaped his futuristic architectural concept as well as his thoughts on the tense relationship between nature and city. A critical approach to urban changes is also characteristic of the work of Nalan Yirtmac, who is often using such media as drawings, graffiti and stencil, to express her ideas. Also she is active in the field of street art, relating her work directly to the environment. In her contribution, Yirtmac refers to the complete restructuring of urban areas and the associated, even involuntary, resettlement of residents. While artist Deniz Gül also deals with urban interventions in some of her works, in her contribution for the magazine, she focuses on another exciting topic. One of the reasons that there had been great expectations about Istanbul be-coming the European Capital of Culture in 2010 was that, since 1999 Turkey had held the status of EU candidacy, which is still an ongoing process today. With her project BEST WEST, Gül approaches the complex issue of Turkish identity in an ironic manner. The year 2010 was also used to strengthen the cultural relations between the three countries: exhibitions were ex-changed between museums, and artists and musicians were invited to each other’s cities. While the relations between Germany and Turkey are quite close, the connection between Hungary and Turkey is not as strong. This is so despite the long common history between the latter two countries, which is evidenced by the beautiful architecture in the main square of Pécs, for example, or the linguistic similarities Gamze Özer reveals in her contribution. (Note: “Sapka” is both used in Hungarian and Turkish language as the word for “hat”). Özer often uses words and images in a humorous way, inspiring multiple associations and interpretations in her audience. In a similar artistic language, Evrim Kavcar – working with different media, such as animations, sculptures and perfor-mances – shares her experiences from 2010 through visual narration. With regards to content, she deals with topics like spatial culture and the social constructions of actions in and through public spaces. Koray Kantarcioglu, who works with diverse artistic media as well (graphic, music, photo), created a number of pho-tographs in 2010, which have a character of street photography. The ostensive, incidentally taken snapshots of frag-ments, gaps and patterns tell a personal story about his impressions of city life during Istanbul 2010. Atilkunst, a progressive artist group founded in 2006, provides an overall picture encompassing all the questions and comments we wrote in our invitation to the contributors. In their collage, they refer to these different aspects in an ironical way. The group is very active in the virtual spaces as well, using virtual stickers and net media to spread their ideas and critiques on ongoing actions.

One of the reasons Pécs was selected as a European Capital of Culture was that the city regards itself as the centre of a subregion in Hungary. The motto “Borderless city” signified the city’s position as a mediator of cultural connections within an international region, reaching beyond the borders of the nation state. As a middle-sized city, Pécs offers a very different lifestyle from a metropolis, or a small town. Perhaps for this reason, civilians have always taken a large part in shaping city life. The ECC year simply institutionalized this already existing situation. Jutka Vörös’ work entitled “Essence” addresses this duality. We are shown a fictive image of the city of Pécs, which the artist recalls from her own memory, as she remembers it. The works describe two unique processes she observed during 2010. The event series that were supported by the media received considerably greater publicity than the less formal events organized by the civilians of the city. One way or another, both alternative and official events have served to boost the cultural industry of the region, which, in turn, prompts the establishment of new institutions. Péter Kupás, in his humorous and ironic work, created new experimental “amusement” institutions using such real and emblematic elements from Pécs as the housing projects of Uránváros and the Mecsek mountain range, thereby pointing out new possibilities in urban utilization.

The concept of a city for which the question of public spaces is a central issue has always been important to Pécs. In addition to building new institutions, buildings and roads, Pécs has also been focusing on the renewal of public spaces and parks. This constitutes the theme for two works. Bálint Rádóczy has been a freelance photographer and graphic artist since 2003. His featured photo series focuses on the changes and transformation of the city. The art group 444m Alkotócsoport, whose members graduated from the Faculty of Visual Arts at the University of Pécs, formed in 2007. The group designed and realized a work entitled “Urban Structures 2010” to be displayed in the Tettye district of Pécs. The water sculpture however has never been seen by the public, as it stands covered until the full renovation of the medieval Szatmáry Ruins is completed. Our publication presents documentation of the idea, the model and the realized, covered public artwork. As Márton Bodó, Pécs-based freelance photographer, graphic artist and dj, travels quite a bit, he was able to provide a more objective picture of his home city. His work questions the basic idea of the title European Capital of Culture. Zsolt László compares the urban structures of Pécs – capital city of the Southern Region – and Budapest – capital city of the country. He primarily uses the characteristic structure of Budapest as his point of departure. The contrasting landscapes of Pest’s unbroken rows of residential building blocks and Buda’s freestanding villas are separated by the spectacle of the freely flowing Danube. The much longed for M6 motorway between Budapest and Pécs facilitates a similar kind of “free flow.” Art is often expected to make statements about contemporary problems or to initiate dialogues. Zorán Patartics’ postcard-like work comprises part of a complex art hacking project. It questions and inverts reality, and also, impor-tantly, critiques current issues. Dóra Palatinus is a sculptor living in Pécs. Her work entitled “Dream Bubbles – Pécs” is about emblematic places, buildings, spaces and monuments in the city. The bubbles work as subtle indicators and aid in imagining possible futures in line with different concepts, drawing attention to previously nonexistent alternatives. Ákos Ulrich’s ECC logo has taken a new format in accordance with motifs he developed in 2010. His street art is char-acterized by clean forms, typography, naturalness, dynamism and uniqueness.

For the first time in the history of the Cultural Capital of Europe (since 1985), a region was given the title in 2010, com-prising 53 cities, with Essen as the “deputy city” and altogether 5 million inhabitants. The motto for Ruhr.2010 was “Wandel durch Kultur – Kultur durch Wandel” (Change through culture - Culture through change). The conversion of this important coal and steel region into a cultural capital had already begun several years before, but reached a peak in 2010. The photographs by Bettina Steinacker show various aspects of urban development, and its sustainability, in the Ruhr region. The photography and the captions give a clear picture of the dramatic effects of some of these changes on the daily lives of residents. Using their own texts and selected projects, artists Clemens Behr and Dirk Schlichting share their own personal experi-ences of last year. Behr appreciates the opportunity he received to implement several projects in the Ruhr. Working outside the sphere of existing cultural institutions, he enlivened unused buildings and grounds with his large-scale installations. On pages 32-33, Dirk Schlichting draws an exciting analogy between his installation “expedition” and his impression of Ruhr.2010. For Schlichting, the expedition as a journey of exploration into remote and unfamiliar areas symbolizes the changes in the Ruhr. Visualising undiscovered spaces and using them artistically is an important starting point for the Kunst Kollegium Es-sen. The Art Association had joined forces in 2007 to explore new ways of presenting art: unusual places and exhibition formats as well as a certain independence from existing arts institutions included. The reasons behind this step, and the possibilities which it opened up, are discussed in their text on page 36. Also in the framework of the first international Biennial of Light Art, an unusual conception was worked with. Under the title “open light in private spaces,” 60 residents of the Ruhr provided their private rooms as exhibition spaces. The contribution by Johanna Schwarz refers to one of the pieces shown there: a video work by American artist Loie Fuller. Johanna Schwarz, who only recently moved to the Ruhr area, experienced this Biennale as one of the most exciting projects in the Capital of Culture year. Anne Lochmann and Stefanie Pluta realized two art projects in cooperation with the Folkwang University. In their works they used the aesthetic and design of advertisements together with media from the fine arts to create a com-plex reflection on the public sphere and the temporary changes of the cityscape. When considering the Ruhr region as a cultural metropolis, one must also take into account the creative industries. With a diving board, a small pool in the “Baubrache” (empty construction site) and the title “creative industry”, the contribution of Jan Ehlen provides an ironic comment on the happily relied-on panacea for cities and regions that want or need to reinvent themselves. The Dortmund U is considered the prestige project of Ruhr.2010, which received ample press coverage, and was sometimes even referred to as the “landmark of Ruhr.2010.” The former brewery building houses a variety of cultural institutions and will now serve as an incubator for the local creative scene. The contribu-tion by Sandra Greiling and Annika Janssen, who co-operate under the name “YAWN”, delivers a laconic proposal for marketing the new cultural centre in Dortmund U. Alteration, conversion, transition – these terms were well-marked in the past year in all the cities. Nicolas Wollnik bases his work on the perception of space, or, more specifically, the transformation of spatial perception. Along with drawings and paintings, photographic material also finds its way into his “Constructures,” which reflects on space as a complex sensory experience.

The publicThis magazine is printed in 3000 copies, which are distributed for free in Istanbul, Pécs and the Ruhr region – but the discussion is not over yet. In cooperation with Baustelle Schaustelle (Essen), Manzara Perspectives (Istanbul) and Nádor Galéria (Pécs), we are currently in the process of organizing a presentation of the magazine in each ECC city to take place on the same day at the same time. All venues will be connected via video conference, allowing participants and visitors to get in touch with each other. Thus, we would like to create a platform, where everyone has the possibil-ity to share their ideas, start discussions, and ask their questions about the project or a specific work, immediately. To encourage a sustainable discussion, all contributions will be published on the blog (http://utopiamag.wordpress.com/), where they can be commented on and discussed by a broad, international audience.

And last, but not least we would like to thank all the participants for their contributions and cooperation. Due to their commitment the project became so inspiring and unique.

UR Utopia and Reality – the future prospects of Istanbul, Pécs, and the Ruhr region

2Utopia&reality

Ista

nb

ul

Péc

s

Ru

hR

geb

Iet

Koray KANTARCIOGLUborn in 1982, Ankara | current location: Istanbulwebsite: www.koraykantarcioglu.com/page 5: “01.2010 - 12.2010”

ATILKUNSTAtılKunst (Gülçin Aksoy, Gözde İlkin, Yasemin Nur Toksoy)current location: Istanbul working together since 2006blogs: www.atilkunst.blogspot.com/, www.gundemfazlasi.blogspot.com/page 6-7

Gamze ÖZERborn in 1984, Bursa | current location: Istanbulblog: https://gamzeozer.wordpress.com/page 8-9: “26+”

Mert EYILERcompany: MeMAborn in 1975, Antalya | current location: Istanbulblogs: www.onsoz.blogspot.com/, www.studyokahem.blogspot.com/, www.evmimarliksergisi2006.blogspot.com/page 10-11: “HIGH SOCIETY”

Deniz GÜLborn in 1982, İzmir | current location: Istanbulwebsite: www.denizgul.com/page 12-13: “BEST WEST” (http://oddat.blogspot.com/2010/08/best-west-at-dukatz-restaurant-in_16.html)

Evrim KAVCARborn: 1976 in Istanbul | current locations: Vienna and Istanbulwebsite / blog: www.evrimkavcar.com/, www.evrimkavcar.blogspot.com/page: 14-15: “The dog who chases taxi cabs” (from 2nd issue of APRICOT CITY A4)

Nalan YIRTMACborn in 1969 | current location: Istanbulblog: http://nalanyirtmac.blogspot.com/page 16: “Yikilan mahallelerin ,yerinden edilenlerin gücü adina” (in the name of destroyed neighborhoods and the misplaced)

RÁDÓCZY Bálintborn: 1977 | current location: Pécs website: www.balintradoczy.hu/page 18-19: Selection from the “Passing through” series.

BODÓ Mártonborn in 1978 | current locations: Budapest and Pécswebsite: http://bodoo.djpage 20

ULRICH Ákosborn in 1989 | current location: Pécs and Budapest websites: www.behance.net/ulrichakos, www.ulrichakos.carbonmade.com/page 21

444m Alkotócsoport(OROSZ Klára, PALATINUS Dóra, HORVÁTH Csaba Árpád, MAKRA Zoltán) working together since 2007 | current location: Pécsblog: www.444m.blogspot.compage 22-23: “Urban Structures – 2010”

PATARTICS Zoránborn: 1968 | current location: Pécs company: Horváth & Patartics Architects website: www.elprojekt.hu, www.afal.hu, www.hp-arch.hu page 24: “Greetings from Pécs beach”

VÖRÖS Jutkaborn: 1986 | current location: Pécs and Budapest blog: www.jesszumpepi.blogspot.compage 25: “Essence”

PALATINUS Dóraborn in 1973 | current location: Pécsblog: www.palatinusdora.blogspot.compage 26-27: “Álombuborékok - Pécs” / Dream Bubbles - Pécs

KUPÁS Péterborn: 1983 | current location: Pécs blog: peterkupas.blogspot.compage 28

LÁSZLÓ Zsoltborn in 1982 | current location: Pécspage 29: “PPP (Pécs-Pest-Partnership)”

Bettina STEINACKERborn in 1968, Hof an der Saale | current location: Essenwebsite: www.fotografie-steinacker.de/page 31: “Continuous change”, 2010

Dirk SCHLICHTINGborn in 1965, Düsseldorf | current location: Hernewebsite: www.dirkschlichting.de/page 32-33: text + project “Expedition”, 2010, Städtische Galerie Herne

Jan EHLENborn in 1980, Bergisch-Gladbach | current location: Mülheim an der Ruhrwebsites: www.janehlen.de/, www.pixtole.com/page 34: “Creative economy”, 2011.

Clemens BEHRborn in 1985, Koblenz | current location: Berlinwebsite: www.clemensbehr.com/page 35: text and projects “Avalanche” and “Haltestelle Zollverein”

KUNST KOLLEGIUM ESSENworking together since 2007 | current location: Essenwebsite: www.kunstkollegium.de/page 36

YAWN (Sandra GREILING & Annika JANSSEN)born in 1980 | current location: Dortmundwebsite: www.weareyawn.com/page 37: “MAKE A STATEMENT WITH DORTMUND U-TOWER MERCH”

Anne LOCHMANN & Stefanie PLUTAAnne Lochmann: born in 1979, BremenStefanie Pluta: born in 1980, Bobingencurrent location: Essenblog: www.stefaniepluta.tumblr.com/page 38: “MK GQ 7” and “GG”

Johanna SCHWARZborn in 1968, Duisburg | current location: Essenwebsite: www.johannaschwarz.de/page 39: “TANZ AUF DEM TEPPICH”

Nicolas WOLLNIKborn in 1978, Leverkusen | current locations: Berlin and Düsseldorfwebsite: www.nicolaswollnik.de/page 40-41: “Constructures”

Utopia&reality3

Ista

nbu

lKoray KANTARCIOGLUATILKUNSTGamze ÖZERMert EYILERDeniz GÜLEvrim KAVCARNalan YIRTMAC

Utopia&reality5

Which activities in 2010 (fields of culture, architecture, urban development) had an impact on the regional level?

Which of them will be sustainable and influence the local, cultural life?

What experiences did you make in 2010? (You could send images of your projects which were realized in 2010, but not older!)

6Utopia&reality

What are the relations between a capital and a regional city? (e.g. Pécs, Essen).

How do you imagine the ideal cultural life in a city - What are the features of an ideal city? (e.g. Utopia vs. Anti-Utopia, structure of a city, public spaces, anatomy of a street/square…)

Utopia&reality7

8Utopia&reality

Utopia&reality9

10Utopia&reality

Our main goal is to question the concepts of high construction, speed, bank, business center and the huge gap between Lev-ent and Gultepe regions.Originating from a state bank’s existing mechanism, which is the means of relationship between modernity and capitalism

(by benefiting the complete structural and economic data of the bank), we developed a project for the future life of Istanbul (let’s say 50 to 150 years from now). The intellectual arguments on the contrast between the “applicable one” and the “non-applicable one” are partially our concentration at the mo-ment. We admit that there are some contradictions in the project that we intend to develop. We suggest finding the ways of producing new questions by altering the “existing one”, not dealing with the “unexisting.” We try to ask questions in order to understand the city by putting the na-ture against it. Our expectation from the conflict between the nature, op-posing the city or the city’s efforts to invent nature in itself is to create some discussions on the awareness of being a city-dweller and an individual.

# 1 Jak sirena (40), high canal, ground Floor, 1123One of the initial residents of High Society. He lives with his partner David Acikbas (35). Jak is a linguist. He studies seven languages and twenty-five ethnic languages. He is the head of a non-governmental organization on the world languages that are in the danger of extinction. When he is off from lectures at the university and the academic studies, he attends sports activities in High Society. He likes scuba diving in the natural reef of 35 meter deep pool of High Society and playing korfbol. Jack’s partner David is a financial investment expert. His client portfolio is mostly composed of the residents of High Society. He works at home-office. Currently, he is studying his post-phd thesis on the “Money’s disappearance from circulation in Macroeconomics.” David is also a wine expert. He grows wine grapes in the organic farm within the building and produces his own wine.

# 2 Mark lindenberg (37), high terrace, 60th floor, 6000He lives with his twins Turner (8) and Aida (8). Mark is one of the most renowned chefs of Europe and co-founder of the kitchen arts academy in London. He has prepared the menu of “Food of Common”, a civil society initiative that distributes food to homeless people all over the world. He zeppelin travels from London to Istanbul frequently. He cooks for a seven-star-hotel in his container home in Soho. He grows thyme, mint, basil and ginger in his garden, inoculates fruit trees and produces his own honey in beehives at High Society. He is fond of experimenting new tastes in the kitchen, which he designed with his son and daughter.

# 3 Katya elvan somer (31), high Roof, 65 floor, 6511She lives alone on the top floor of High Society. She is a zeppelin and airship designer. The three common zeppelin designs of the building belong to her. She does not like to spend her time at home, she likes traveling and meeting new people, writing travel notes, and listening to retro jazz. She often zeppelin travels with her best friend Mavi. She is also interested in astrology. She is fond of watching the meteor shower on the roof of the High Society. She makes exercises with her neighbors David and Jack. Her favorite activities are “free running” and “parkour”. She likes spending time in the common areas of High Society. At the weekends she sings at the cocktail bar of the High Society

We suggest telling the project not by describing the “construction” that is composed of bulk containers but by letting the residents of High

Society speak:

Utopia&reality11

12Utopia&reality

Utopia&reality13

14Utopia&reality

Utopia&reality15

16Utopia&reality

Péc

sRÁDÓCZY BálintBODÓ MártonULRICH Ákos444m Alkotócsoport (OROSZ Klára, PALATINUS Dóra, HORVÁTH Csaba Árpád, MAKRA Zoltán)PATARTICS ZoránVÖRÖS JutkaPALATINUS DóraKUPÁS PéterLÁSZLÓ Zsolt

18Utopia&reality

Utopia&reality19

20Utopia&reality

Utopia&reality21

URbánUs struktúrák – 2010Essen, Isztanbul és Pécs kiemelt kulturális platformra került 2010-ben, mivel a három város kapta meg egy esztendőre az Európa Kulturális Fővárosa címet. A városok által kijelölt kulturális mezőre és magára az EKF projektre reagálva dolgoztuk ki a vízarchitektúra koncepcióját. A városok különböző vizuális szerkezete mel-lett, nem csupán fizikai tulajdonságaikat, hanem kulturális jelentéseket és szimbolikus funkciókat hordozó en-titásukat szerettük volna kihangsúlyozni.

A városok közös térképre kerülésének folyamatából alakult ki egy fiktív város térképrendszere. A három városszerkezet egy-egy részletét egymásra helyezve, azok rétegződéseként jött létre a plasztikaként kiraj-zolódó térszövet. A bonyolultan tagolt rendszer egyértelműen utal térkép előképére, egy sosemvolt települ-ésszerkezetet vizionálva. Minden esetben a városokat meghatározó centrumokat választottuk ki, melyek az adott település történetileg kialakult szellemi, kulturális origói voltak. A plasztika az egykori pécsi püspö-ki palota előtt kapott helyet, a síklapokkal körülvett térkép vízszintes rendszere a reneszánsz kori rommal jelentős kontrasztot alkot.

A várostérképek különböző mélységben jelennek meg. Pécs utcáiban víz mozog, ezért a város érrendszere jelentősebb 15cm-es plaszticitást kap, míg Essen 4cm és Isztambul 2 cm mélyen van kifaragva.

esse

n

ista

nbul

pécs

Pécs tettYe VÁROsRésZ KÖZteRÜlet ReKOnstRuKcIÓJa

Képzőművészeti munkarész: 444m Alkotócsoport (Orosz Klára, Palatinus Dóra, Horváth Csaba Árpád, Makra Zoltán) | Generáltervező: s73 Kft Kerttervezési és Tájépítészeti Stúdió

A vizesplasztika a mai napig nem működik, letakarva található a Szatmáry rom fölött. A munka apropója már nem időszerű,  amiért létrejött már elmúlt, úgyhogy nem látta a nyilvánosság.

22Utopia&reality

Urban Structures - 2010In 2010, Essen, Istanbul and Pécs were in the centre of cultural attention, as these cities were given the European Capital of Culture title for the duration of the year. It was in reaction to the cultural “field” demarcated by these cities and the CCE project itself that we created a water architecture concept. In addition to the visual structure of the cities, we also wished to emphasise not only their physical properties, but also their role as entities bearing cultural meaning and symbolic function.

The process of Essen, Istanbul and Pécs coming to occupy the same map inspired us to create the map system of a fictive city. After taking the structure of these three cities and superimposing individual details on each other, the thus formed layers produced a plastic art-like spatial fabric. The complexly segmented system clearly resembles its map predecessor; it is the envisioned structure of a town that never was. In each case, we selected the centres which defined the cities, and which through history have been established as their intellectual and cultural fulcrums. The sculpture was placed in front of the former Episcopal Palace of Pécs. The horizontal system of the map surrounded by planar surfaces effect a strong contrast with the Renaissance-age ruins.

The cityscapes appear with various depths. As the streets of Pécs have water flowing through them, its urban “circulatory system” has a more significant plasticity of 15 cm. Essen, on the other hand, was carved at 4cm, while Istanbul was sculpted with a depth of 2 cm.

PublIc aRea RecOnstRuctIOn OF the tettYe cItY DIstRIct OF Pécs

Visual artwork: 444m Art Group(Klára Orosz, Dóra Palatinus, Csaba Árpád Horváth, Zoltán Makra)

Architect: s73 Kft Studio of Landscape and Urban Design

The water sculpture is not in operation till this day. It stands covered in Tettye, above the Szatmáry ruins. No one has ever laid eyes on it. What prompted the work is no longer current. The reason for its creation has passed, without the public ever seeing the work.

Utopia&reality23

24Utopia&reality

EssenceMaps of a fictive city, of my subjective take on Pécs, as I recall it from memory. An invisible world that can only be sensed; an imprint of Pécs and the feelings of its people. Only those who lived and worked there can know what the “European Capital of Culture” year was like. The ECC relied greatly on the kind of events and festivals organised by civil initiatives, groups, and associations, which may have escaped the attention of those who got their information on ECC events exclusively from the media. Thus, the black map marks the events that were emphasised by the media; news that weighed down on the city and diverted awareness away from the essence.

LényegTérképek egy fiktív városról, az Én szubjektív Pécsemről, ahogy fejből emlékszem rá. Egy láthatatlan, csak érezhető világ, a pécsi emberek érzéseinek lenyomata. Csak az tudja igazán milyen volt az Európa Kulturális Fővárosa év, aki ott lakott és tevéke-nykedett. Az EKF nagyban függött a civil kezdeményezések, csoportok, társaságok által szervezett eseményektől, fesztiváloktól, amelyekről azok, akik csak a médiából értesültek az EKF körüli eseményekről, nem biztos, hogy hallottak ezekről. Így a fekete térkép a média által kiemelt eseményeket jelenti. Azokat a híreket, amik ránehezedtek a városra, és elvonták a figyelmet a lényegről.

Utopia&reality25

Az Árkád áruház a belváros szélén álló legnagyobb épület, ahol a hagyományos városi szövet megszakad (üzletek, lakások stb). A szabadidő eltöltés egyik arénája köré kórházi sátrakat, menekülttábort helyeztem. Az Árkád épülete lehetne egy biztos pont, egy hatalmas kórház vagy menhely szükségállapot idején, amit egy természeti katasztrófa idézhet elő. / The Árkád Shopping Mall is one of the biggest buildings in the edge of the city centre, where the traditional urban texture (stores, flats etc) comes to an end. I installed theatrical tents, a refugee camp around the most important spot of leisure. The building of Árkád could function as a fix point: a huge hospital or an asylum in a natural disaster.

A pécsi magasház Közép-Európa legmagasabb lakatlan épülete. A huszonöt emeletes köré egy olyan városrészt terveztem, amely már az új energiaforrásokat felhasználva szélenergiával működik. / The famous tower block of Pécs is the highest unoccupied building of Central- Europe. I have planned a quarter around the 25 storey building, which is going to function with wind power.

A Tubesre tervezett katonai lokátor ebben az esetben megvalósul a tervezett helyszínen. A makett egy olyan jövőképet mutat, ahol Pécs eltűnik, víz alá kerül. Két épület marad meg emlékeztető jelként a városra a radar és a tv-torony. / In this case the military radar has been materialized in the top of Tubes, in the planned venue. The mock-up represents a future scene where Pécs will disappear, it will be under water. Two buildings remain as signs of the vanished city: the radar and the TV tower.

A Széchenyi tér a belváros közigazgatási, kereskedelmi és idegenforgalmi központja. A maketten Gázi Kászim pasa dzsámija, a Szentháromság-szobor és Hunyadi János bronz lovas szobra látható, a tértől elvettem a reprezentatív szerepet és kis parcellákra, kertekre osztottam fel. / The Széchenyi-square is the civic, commercial and tourist centre of downtown. In the maquette the mosque of Kászim pasha, the Holy Trinity sculpture and the equestrian sculpture of János Hunyadi can be seen. I relieved the place from its representative function and divided it into small parcels and gardens.

26Utopia&reality

Pécs és környékén nincs nagy folyó, illetve nagyméretű víz, ez egy másik Pécs, ahol tengerpart szegélyezi a várost. / In Pécs and its surroundings there is no big river or any water. This is a different Pécs, which is surrounded by the sea.

A következő makett a belváros szélén álló vasúti magtár lerombolására állít emléket, az épület Boccaccio néven sokáig szolgált diszkóként, de a közelmúltban sajnálatos módon, jelentős hasznot generálva leégett. A városvezetés megelégelte a látványt és lerombolta a magtárat, ennek egy fázisát örökítettem meg. A mai napig áll a vaslépcső szerkezeti váza. / The next mock-up is going to record the demolition of the granary by the railroad, which can be found in the edge of downtown. The building functioned as a discotheque with the name of Boccaccio, but it was burnt down generating huge financial benefits with the accident. The leadership of the city could not stand the sight and have the granary demolished. I recorded one phase of this action. Up to now the iron stair structure still stands there.

Pécsre jellemző kőszénbányászat fontos helye Pécsbányatelep, a külszíni fejtés már leállt meddőhányót és tátongó krátereket hagyva maga után. A maketten egy lehetséges új és egy régi településszerkezetet, illetve annak találkozását ábrázoltam a bányató körül. / The city’s peculiarity is coal mining with the centre of Pécsbányatelep. Opencast mining is already finished leaving mine dumps and yawning craters behind. In the mock-up I am going to illustrate a possible new and older settlement structure with focusing on their meeting points around the mine lake.

Pécs Európa Kulturális Fővárosa volt 2010-ben, az egész várost érintő építkezések hatottak legerősebben az itt élőkre. A folyamatos építkezések olyan kulcsberuházásokat takarnak, melyek infrastrukturális alapot teremtenek a város jövőjét meghatározó hosszú távú kulturális városfejlesztési koncepciónak. / Pécs is the European Capital of Culture in 2010. The constructions, which affect the whole city, have the biggest influence on the inhabitants. The continuous constructions cover those key investments that will create an infrastructural base to the conception of city planning.

Utopia&reality27

28Utopia&reality

Utopia&reality29

Bettina STEINACKERDirk SCHLICHTINGJan EHLENClemens BEHRKUNST KOLLEGIUM ESSENYAWN (Sandra GREILING & Annika JANSSEN)Anne LOCHMAN & Stefanie PLUTAJohanna SCHWARZNicolas WOLLNIK

Ru

hR

geb

Iet

▫ Eine der größten Moscheen Deutschlands: DiTiB-Moschee, Duisburg-Marxloh, 2008 eröffnet. / One of Germany’s largest mosques: DiTiB Mosque, Duisburg-Marxloh, opened in 2008.

▫ 200 Hektar groβes Entwicklungsgebiet auf dem ehemaligen Hochofen- und Stahlwerksgelände Phoenix in Dortmund, Hörde. Neben einem See mit Hafen und der Renaturierung des Abwasserflusses Emscher, werden hier der „High-Tech-Standort Phoenix“ und 800 - 1000 Wohneinheiten gebaut. / 200-hectare development area on the grounds of the former Phoenix Blast Furnace and Steel Plant in Dortmund, Hörde. Among a lake with marina and the restoration of the river Emscher, which serves as a drainage canal, the „high-tech-location Phoenix“ and 800 – 1000 housing units will be built.

▫ Abriss von mehreren Straßenzügen für den so genannten „Grüngürtel-Duisburg-Nord (ein Teil ist bereits nicht mehr vorhanden, im Frühjahr 2011 werden weitere 50 Häuser abgerissen), gegenüber Thyssen Stahlwerk, Duisburg-Bruckhausen. / Demolition of several streets for the new greenbelt, „Grüngürtel-Duisburg-Nord (already a part of it doesn‘t exist anymore, another 50 houses will be demolished in spring 2011), across from Thyssen Steel in Duisburg-Bruckhausen.

▫ Autobahn A40 in Essen, mit neu gestalteten Lärmschutzelementen als Barcode, als Teil des Kulturhauptstadtprojekts Die Schönheit der großen Straße. / Highway A40 in Essen with noise reduction elements redesigned to resemble a barcode, part of the European Culture of Capital project “The Beauty of the Big Road.”

▫ Kurz nach der Sprengung des letzte Weißen Riesen (16-stöckiges Hochhaus aus den 70ern) in Kamp-Lintfort, Dezember 2010. / Shortly after the controlled demolition of the last “White Giant“ (16-story high-rise from the 1970s) in Kamp-Lintfort, December 2010.

Utopia&reality31

32Utopia&reality

the RuhR.2010 expeditionAt a public discussion, a visitor to the exhibition said that for her, the work Expedition was an image of the European Capital of Culture RUHR.2010: each room could be viewed separately, but the work as a whole only came into focus from a bird’s-eye perspective. Admittedly, I didn’t have anything of the sort in mind when I conceptual-ized and created the project; what was important to me was the local and thematic connection (the work was shown as part of the exhibition series liquid area, the defined theme of which was waterways –).

But with regard to a retrospective look at RUHR.2010, the concept of the Expedition and the image of a stranded ship offer an interesting friction (– and also allow me to imagine the work in pictures –).It was an “expedition” because of the numerous blank spots on the map of this association of cities that needed to be explored. At the same time, in a single year, so many pins were stuck into the map that a forest of events sprang up, in which even noteworthy events got lost in the media coverage – like the stranded ship . The shared sense of regional identity reached its climax at an early stage, when the decision was made in favor of the Ruhr region as the European Capital of Culture. Afterwards, quite a few things went in different directions again: Were there just too many ships, too many captains who wanted to chart the course? Had competition taken the place of coordination or a shared concept to define regional focal points? That tendency was certainly there (also since scarce funds and the limited pool of sponsors prevented any excessively brotherly behavior), but at the same, there was dialogue, networking, and collaboration.In the beginning, I was skeptical: was it all too much an “event” being passed off as “art”? Big names being bought without looking at the substance of the projects?

Two examples of projects that did not succeed, in my view:Gerz did not do his Square of the European Promise in Bochum any favors by asking participants to make their promises public (including their portraits and names). The charm of the secret promise, made only to oneself, was lost. Instead, we read—oh so politically correct—promises, drowning in words like tolerance and sustainability. Boring! I also

have my problems with Lüpertz’ colossal Hercules in Nordsternpark. Neoconservative? Antiquated! But big! A video doesn’t get any better just because it’s projected by beamer onto a 10 x 16 meter panel. At the same time, there were positive surprises: Still-Life A40. Finally, stuck in traffic on highway A40 on bicycles instead of in cars. There’s no doubt: it was an event, but an authentic one, with a wonderful atmosphere and real everyday culture! And there were many voyages of discovery to previously unknown art sites, most recently the DKM Museum in Duisburg: since 2008, two private collectors have been working to create a museum, lovingly collecting and lovingly presenting the works—impressive.Perhaps a shared regional consciousness really is emerging, sparked by a sense of cultural identity and diversity and not defined solely by the region’s collective history of industrial culture, but rather by the self-confidence that exciting new things are coming into being in the here and now. And perhaps this will happen in a place where the starting point for a common history is not coal and steel but IBA and European Capital of Culture. Maybe then, someday, there will even be a “Ruhr City” government district. Expedition failed?No, it has only just started. To remain with the image: the crew is ready, the provisions are packed (and hopefully haven’t already been devoured down to the last crumb), and the ropes have been cast off. The question now is whether the cooperation with public institutions (e.g., art museums of the Ruhr region) and the networking with the numerous private initiatives—key strengths of the Region—will be continued and intensified.

Utopia&reality33

34Utopia&reality

IIn 2010, the Ruhr-area seemed to blow up culturally. This was more or less what I was hearing from people outside the area. For me, inside this bubble it seemed like quite a normal year. Except that I suddenly began to see the Ruhr2010 logo everywhere. But I also saw it related to some projects I was taking part in, which could not have been realized without it. So I had the chance to participate in several exhibitions and work on two nice public commissions. After half a year of this, something happened that changed the view a little bit.

In summer, this cultural atmosphere seemed to pervade the whole area. My main project had been my degree project, which I realized in cooperation with the 2010 project Concrete Playground, and which entailed building an installation in an empty shop space near the main station in Dortmund. For 7 weeks I was working inside this place, partly in isolation, and partly with a lot of comments from people passing by. After the opening, I had my own little gallery to open for eight hours each day, and it was not rare that people asked about a relation to Ruhr2010. It seemed to me that many people would automatically connect anything abnormal, or out of the ordinary, to Ruhr2010. It sounds very negative, but people were just used to relating culture to certain facilities. After the conversations took place, however, they seemed to get the fact that something else was happening. Of course, the situation will now improve, provided that this kind of motivation continues, and that the new facilities will engage no more than 20% of the population, loosing against the reign of football and beer. Nevertheless, I am happy to look back at the works I made in the Ruhr-Area in 2010.

AvalancheThe project was realized in an empty shop space in Dortmund. The im-age of an avalanche was used to compare my installation and my way of working to the transformation of the surrounding environment. The distortion began at one point and then suddenly changed and rear-ranged the whole space. In combination with the outer appearance of the building, it all appeared folded and wrapped around itself. Inside the avalanche, I used common materials, like wallpapers, cardboard, car-pet and mirrors to relate to everyday spaces. The basement housed an-other work. Pictures of the room in its former state were projected on an installation composed of fragmented, origami-like-shapes. Visitors could control the projections through sound and, in this way, move the space and alter its scale.

Haltestelle Zollverein.New design of the tram station at Zeche Zollverein.

Utopia&reality35

back in the year

2007Most of the later founding members of the small art institution „Kunst Kollegium Essen“ were still studying in their last years of art/art education at the University of Essen. They found out that art is supposed to be exhibited more often than once a year in a semi-public exam or within opened studios. The special situation in Essen was that public institutions like the Folkwang Museum cling more to classical Impressionism than to „risk“ dealing with contemporary young local artists. So the question arose: What are you doing art for if it is stuck in the studio and not shown to public? Some of those students founded in 2008 the „Kunst Kollegium“ in order to provide contact to each, each others production and also to provide the opportunity to make shows in public. Public meant that the art is not shown in a white cube situation of a museum or gallery but in the gaps and backyards of the city. Consequently the art was shown for only a few weeks mainly in abandoned or peripher spaces. Five exhibitions had taken place since 2008. Despite the short preparation time most of the projects were given (about 3-10 weeks), Kunst Kollegium always managed to produce a short catalogue of the works as an documentation.

Essen was chosen as a Cultural Capital of 2010 but by no means this affected the work of the Kollegium significantly. While most of the exhibited artists and art works in official Ruhr2010 projects had little or no reference to the Ruhrgebiet, Kunst Kollegium tried to engage site-specific works and/or invited artists that already had some connection to the Ruhrgebiet or at least make site-specific projects. Nomadic interventions could produce as much artistic output than eventually the

kind of oversized, planned spectacle that served as the core elements of the high aimed Ruhr2010-style representation of „big ideas“.

As the Loveparade-desaster or the failed Zollverein Design School show: Big is nt beautiful anymore. You can make contemporary urban art/culture better and more flexible your own way. If you have an exhibition in a suburban context possibly other people come in contact with you and your artworks than those signed in in a museum or gallery newsletter. Some of the visitors came in by accident and were suprised that they suddenly contact the art sphere by simply step in a showroom of a former furniture store.

In 2010 two exhibitions were launched in different neighbourhoods. In order to keep the budget small and the output high every exhibition was self-curated, under-insured and driven by affection more than by those „big“ ideas and money.

For the future we will develop our basic strategy (temporary intervention) and plan to take more guest artists - maybe also from abroad. Is this what could be called „European“?

For further reference, contact and information see our website that is also showing the online version of the project catalogues 2008-2010:www.kunstkollegium.de

36Utopia&reality

Utopia&reality37

MK GQ 7MK GQ 7 ist eine Text-Bild Arbeit. Text und Bild sind jedoch inhaltlich nicht miteinander verschränkt. Die Fotografie eines (gebrauchten) Schleudersitzes, gefunden im Internet - wo dieser zum Verkauf angeboten wurde- wird einem Abschnitt aus Italo Calvinos Die unsichtbaren Städte gegenübergestellt. Die semiotische Lücke die dabei entsteht, steht im Kontrast zu den gewohnten Strategien der Werbeindustrie. Der Text verweist auf eine mögliche Illusion des Stadtraums und kündigt von der Flachheit der Bilder und Fassaden und bezieht sich somit direkt auch auf die Situation des Werbeplakats. / MK GQ 7 is a work that combines text and image. The photograph of a used ejection seat found on the internet where it was put up for sale faces a paragraph of Italo Calvino s Invisible cities. In doing so a semiotic gap results that contrasts the usual strategies of advertising industries. The text refers to a possible Illusion of urban space and recalls a flatness of images and facades and hence relates to the billboards situation itself.

GGGG ist eine Fotografie die einer Werbung entstammt, die einige Wochen vor Projektbeginn im Essener Stadtraum überpräsent war. Durch die Wahl des Ausschnitts, der Akzeptanz von Spiegelungen und einer nachträglichen Verfremdung durch Überbelichtung wurde das Werbezitat zu einem eigenständigen Bild, das wieder in den Stadtraum zurückgeführt wurde / GG is a photograph that originates from a billboard ad that was displayed omnipresent all over Essen shortly before our project started. The picture has been altered by clipping, adding reflections and overexposure so that it became a different and independent image that was then returned to urban space.

38Utopia&reality

PARIS, DEZEMBER 1895 Der Raum ist schwarz. ein bühnenraum. Die bühne ist beleuchtet. l. tanzt. l.tanzt schnell, schneller, am schnellsten. Die vielen stoffbahnen schwingen um ihren Körper herum, sie werden türkis, gelb, rosa, lila, orange… SIE DURCHDRINGT ALLE UND ALLES.

BÖNEN, APRIL 2010 Wir fahren mit dem Bus nach Bönen. Wir steigen aus. Wir gehen durch eine Reihenhaussiedlung. Frau W. öffnet die Haustür. Wir gehen hinein. Frau W. führt uns in ihr Wohnzimmer. Wir setzen uns auf beige Sessel. Teppiche, Nippes, Engelchen auf den Sims, es duftet. Vor uns ein Fernseher. Wir sehen ein Video: Der Raum ist schwarz. ein bühnenraum. Die bühne ist beleuchtet. l. tanzt. l.tanzt schnell, schneller, am schnellsten. Die vielen stoffbahnen schwingen um ihren Körper herum, sie werden türkis, gelb, rosa, lila, orange…SIE DURCHDRINGT ALLE UND ALLES.

ESSEN, NOVEMBER 2010Ich sitze im Atelier. Ich bekomme eine e-mail. Ich werde angefragt, ob ich bei einem Magazin mitmachen möchte. Urbanität, Kulturhauptstadt, Visionen, Begegnungen… Ich erinnere ich mich: Wir fahren mit dem Bus nach Bönen. Wir steigen aus. Wir gehen durch eine Reihenhaussiedlung. Frau W. öffnet die Haustür. Wir gehen hinein. Frau W. führt uns in ihr Wohnzimmer. Wir setzen uns auf beige Sessel. Teppiche, Nippes, Engelchen auf den Sims, es duftet. Vor uns ein Fernseher. Wir sehen ein Video:Der Raum ist schwarz. ein bühnenraum. Die bühne ist beleuchtet. l. tanzt. l.tanzt schnell, schneller, am schnellsten. Die vielen stoffbahnen schwingen um ihren Körper herum, sie werden türkis, gelb, rosa, lila, orange…SIE DURCHDRINGT ALLE UND ALLES.

PARIS, DECEMBER 1895 // The space is black. A stage space. The stage is illuminated. L. is dancing. L. dances fast, faster, fastest. Countless strips of fabric swirl around her body, turning turquoise, yellow, pink, lavender, orange … // SHE PERMEATES EVERYONE AND EVERYTHING. // BÖNEN, APRIL 2010 // We’re riding the bus to Bönen. We get off. We walk through a neighborhood of row houses. Mrs. W. opens the front door. We go in. Mrs. W. leads us into her living room. We sit down in beige armchairs. Rugs, knick-knacks, cherubs on the mantelpiece, a fragrance in the air. // In front of us: a television. We watch a video: // The space is black. A stage space. The stage is illuminated. L. is dancing. L. dances fast, faster, fastest. Countless strips of fabric swirl around her body, turning turquoise, yellow, pink, lavender, orange … // SHE PERMEATES EVERYONE AND EVERYTHING. // ESSEN, NOVEMBER 2010 // I sit in the studio. I get an e-mail. I am asked whether I want to work on a magazine. Urbanism, capital of culture, visions, encounters…// I recall: // We’re riding the bus to Bönen. We get off. We walk through a neighborhood of row houses. Mrs. W. opens the front door. We go in. Mrs. W. leads us into her living room. We sit down in beige armchairs. Rugs, knick-knacks, cherubs on the mantelpiece, a fragrance in the air. // In front of us: a television. We watch a video: // The space is black. A stage space. The stage is illuminated. L. is dancing. L. dances fast, faster, fastest. Countless strips of fabric swirl around her body, turning turquoise, yellow, pink, lavender, orange … // SHE PERMEATES EVERYONE AND EVERYTHING. // Berlin, June 2040 // In a basement. A box. The magazine ends up in a young woman’s hands. She leafs through it. She reads. She watches a video of L. on the Internet: // The space is black. A stage space. The stage is illuminated. L. is dancing. L. dances fast, faster, fastest. Countless strips of fabric swirl around her body, turning turquoise, yellow, pink, lavender, orange … // SHE PERMEATES EVERYONE AND EVERYTHING.

BERLIN, JUNI 2040In einem Keller. Ein Karton. Einer jungen Frau fällt das Magazin in die Hände. Sie blättert. Sie liest. Sie schaut sich im Internet ein Video von L. an: Der Raum ist schwarz. ein bühnenraum. Die bühne ist beleuchtet. l. tanzt. l.tanzt schnell, schneller, am schnellsten. Die vielen stoffbahnen schwingen um ihren Körper herum, sie werden türkis, gelb, rosa, lila, orange… SIE DURCHDRINGT ALLE UND ALLES.

Utopia&reality39

40Utopia&reality

Utopia&reality41

OUR MAIN SPONSOR

Many thanks to

Cooperation Partners

In 2007 Baustelle Schaustelle launched its first show at an actual construction site at the building on Brigitta- and Annastrasse in Essen. The space started as a temporary venue for young artists. Whereas the first shows could still occupy several hundred square meters, in 2008 the actual exhibition space shrank down to 16 square meters and the office annex. Since then young artists from Düsseldorf, Essen, Cologne, Berlin, Braunschweig, Hamburg, Arnhem, Tel Aviv... have successfully worked with its three walls and the huge shop window. More than 30 shows have been realized to this day.In 2010 Brigitte Krieger, who funds the space and her team announced an Art Award where artists were challenged to deal with the Ruhr area: its history and specifics and the exhibition space. A very competent jury of art historians, artists, journalist and art affiliated people picked Nicolas Pelzer, Matthias Wollgast and Rimma Arslanov as the three winners. Their shows have been very well recognized. We have just had the jury meeting for the 2011 Art Award. The topic is “dual” and artists were asked to apply as duos. We are looking forward to see the winning projects being realized at the Baustelle Schaustelle and hope for many more interesting, challenging and inspiring shows to come.

web: www.baustelle-schaustelle.deblog: bauschau.wordpress.com/email: kunst@baustelle-schaustelle.de

Leaving the absurd status of multicultural binational bridges behind, Manzara Perspectives extends the modus operandi by the concept of the contact perspective. Thought quite normative and idealistic, the focus lies on the post-national world society discourse in the production of art.

Almost like an art migration market and instead of subdividing into import and export and German or Turkish, Perspectives discusses one-to emigration and internal transit and puts them actively into relation and as institutionally not fixed, in an almost playful way.

Since 2008 the exhibition project Manzara Perspectives is an active part of the art scene in Istanbul. In order to give space to the emerging local scene as well as to young artists, Manzara Perspectives uses a variety of very different spaces like holiday apartments, basement floorsand spaces in the process of transformation like construction sites. Since one year it is curating the program of a constant exhibition space. This space is located on the ground floor of a building where three institutions from Germany initiated an artist-in-residence program. Due to the presence of the German artists, writers and musicians as well as the personal background of the Manzara Perspectives team, a binational perspective in a wider international dimension has emerged as a so to say logical or natural consequence.

Manzara Perspectives is supported by Manzara Istanbul, a German-Turkish company, whose owner, Erdoğan Altındiş, business man and architect is establishing an important bridge in the framework of the German-Turkish relations.

web: www.manzara-perspectives.com

International: www.dhl.com/freight Hungary: www.dhl.hu/freight email: freight.hungary@dhl.com

DHL Freight Hungary Ltd., Budapest

42Utopia&reality

SPECIAL THANKS

To the participating artists and Márk LECHNER,

Beral MADRA, Dr. Peter SCHMIEDER, VÁGÓ Ágnes, Arzu YAYINTAS

SUPPORTED BY

.

The temporary gallery came into existence in the building of the Nádor Hotel. The goal was to once again populate the ground floor halls of this building that is so close to the hearts of the citizens of Pécs, until the renovation of the hotel commences.  

The coffee-house of old, now as a gallery, wishes to present contemporary artists of Pécs and foreign artists liaised with these and also wishes to turn into a meeting point for the art-loving citizens of Pécs. 

The simple circumstances which in fact only cater for the most necessary of needs were realised with the support of the citizens of Pécs. The gallery came into existence solely with their help, the gallery does not have any own resources. Everything was raised by the citizens of Pécs, from the structural expert opinion to the construction materials and the transportation of these, from the carpentry to the alarm system, from the insurance of the artefacts to the graphical design and printing, from our website to the wall safes and to the last nail. 

In the strictest sense we are not a commercial gallery, neither concerning our goals nor the reason for the realisation of the gallery. We do not wish to deal with professional commerce or the management of the artists, but we would love to intermediate between the purchasers of art objects and artists but without hoping for a profit. This is the reason why our visitors can purchase the works of arts for virtually studio prices.

We trust that with our work we can make Pécs contemporary art more popular, that we can make a number of significant foreign artists known, and we hope that with our help numerous works of art will find a new owner.

We hope that you will receive our exhibition and programmes with the same enthusiasm as with which we and our sponsors have prepared these for you.

web: www.nadorgaleria.huemail: info@nadorgaleria.hu

Nádor Galéria Pécs

Manzara Perspectives Istanbul

Utopia&reality43

444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz

GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ

Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS

Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH

Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan

YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert

EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS

Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS

Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina

STEINACKER ULRICH Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN &

Sandra GREILING) Nalan YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ

Márton Jan EHLEN Mert EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST

KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze

ÖZER PALATINUS Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna

SCHWARZ Bettina STEINACKER ULRICH Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN

(Annika JANSSEN & Sandra GREILING) Nalan YIRTMAC 444m Alkotócsoport ATILKUNST Clemens

BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz GÜL Koray KANTARCIOGLU Evrim

KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ Zsolt Anne LOCHMANN &

Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk

SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH Ákos VÖRÖS

Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan YIRTMAC 444m

Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert EYILER Deniz

GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS Péter LÁSZLÓ

Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS Dóra PATARTICS

Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina STEINACKER ULRICH

Ákos VÖRÖS Jutka Nicolas WOLLNIK YAWN (Annika JANSSEN & Sandra GREILING) Nalan

YIRTMAC 444m Alkotócsoport ATILKUNST Clemens BEHR BODÓ Márton Jan EHLEN Mert

EYILER Deniz GÜL Koray KANTARCIOGLU Evrim KAVCAR KUNST KOLLEGIUM ESSEN KUPÁS

Péter LÁSZLÓ Zsolt Anne LOCHMANN & Stefanie PLUTA Gamze ÖZER PALATINUS

Dóra PATARTICS Zorán RÁDÓCZY Bálint Dirk SCHLICHTING Johanna SCHWARZ Bettina

urUtopia & RealityIstanbul Pécs Ruhrgebiet