Fashion Week Berlin – König Souvenir x Kollektiv Ignaz

Fashion Week Ignaz Kollektiv
July 13, 2018

A very exciting and rather atypical presentation at the Berliner Salon during Fashion Week Berlin was the cooperation of a contemporary art gallery and the over one year ago founded Kollektiv Ignaz. König Souvenir had been launched in 2017 and is a young product line of the successful Galerie König that recently opened a dependency in London.

König Souvenir creates editions like shirts, hoodies, beach towels and further accessories, whose prints refer to artists’ works being shown in the gallery and furthermore focuses on socially and politically relevant topics that define our everyday life. For example, there are leggings with a print of a work by Claudia Comte or the Guilt Cap by Monica Bonvicini but also a EUnify Hoodie calling for critical commitment to the European project. Kollektiv Ignaz lives in Frankfurt cutting a dash with music, design and photography related events, also in cooperation with the Museum of Applied Arts. Stated goal of the triple is arousing interest of young and creative peers currently graduating from school being less text-heavy than their predecessors.

Miriam Bers spoke with the protagonists during Fashion Week Berlin.

MB: Why founding the group, what moves you?

KI: Our group is based on friendship. We are friends for years now and have lived out our own creative ideas. At a certain point we began exchanging projects and became a team. Above all, we want to express our own creativity using the collective as a platform.

MB: König Souvenir, why collaborating with the collective during Fashion Week Berlin?

KS: We have been known Ignaz for a while and took notice of them through their creative projects. When the anti-Semitic attacks happened we were in a close dialogue with each other setting an example for tolerance and against hate while developing the Solidarity Hoodie together.

MB: The Solidarity Hoodie is a brilliant idea: A kippah stitched on a hoodie. In this way, you create a political lifestyle–product representing different minorities. The kippah as a Jewish symbol, the hoodie once synonym for marginalized groups, later popular in the hip hop scene and nowadays indispensable. Sometimes also connected to anonymity and denial.

MB: Where did the idea come from?

KI: The hoodie does not play a certain role. We all come from a generation where an outfit is not about its past but about its look and coolness. Both, attacks against the Jewish as well as against other religions unfortunately still happen too often in Germany. We are sick of the press and the society discussing religious details over and over again when the general free practice of religion is just not possible.

MB: Who is your target audience?

KI: There is no specific target group. Everybody who is for the freedom of religions and wants to stand up for people being religiously discriminated is invited to wear this hoodie.

MB: The hoodie is an edition of?

KS: The hoodie is an edition of 500 and currently available in the colors black, blue, yellow, grey and green.

MB: How does it feel to be represented together with König Souvenir at Berliner Salon during Fashion Week Berlin? How is the reaction to the Solidarity Hoodie?

KI: Of course it is a great honor and a huge opportunity to collaborate with König Souvenir. Even before the cooperation we were big fans of them.

KS: The Berliner Salon during Fashion Week was the perfect platform to show the Solidarity Hoodie. We received a throughout positive echo and even requests from the US.

MB: What’s next?

KI: Within the last months, we have fully dedicated ourselves to this project. But of course we will carry on soon.

MB: König Souvenir, which will be your next highlight?

KS: We have currently two new shirts in store created on the occasion of the exhibition by Andreas Mühe presenting his new works „Prora Sport“ and „Totilas I“. Furthermore, there are other collaborations being planned which of course will be surprises and available in our online shop Koenig-souvenir.com as well as in the gallery here in Berlin.

Photos: Jakob Blumenthal 

Portrait: Nick Leuze

IG: @goartberlin @koenig.souvenir @ignaz.de @nickleuze

GoArt! Art & Fashion Tours

Porträt Kollektiv Ignaz, Fashion Week
KSxIGNAZ
KSxIGNAZ
KSxIGNAZ

Sigrid Neubert – Modern Architecture in Photography

March 28, 2018

Sigrid Neubert (*1927) is one of Germany’s most renowned architectural photographers. In the past six decades, she has produced aesthetic images of modern buildings and urban landscapes. Later, Neubert was also interested in nature photography while creating poetic, partly mystical imagery. A selection of works by Sigrid Neubert is currently on display in the Museum für Fotografie (Museum of Photography) of the Staatliche Museen zu Berlin . The exhibition runs until June 3rd, 2018.

Miriam Bers talked to the two curators of the exhibition – the head of the photography collection of the Kunstbibliothek (Art Library) Dr. Ludger Derenthal, and the architect and art historian Dr. Frank Seehausen.

MB: Mr. Derenthal, according to which criteria do you create your program?

LD: In the Museum of Photography we present the whole history of this important visual medium from its beginning in the middle of the 19th century to the present day, often in thematic exhibitions and with works from our collection.

MB: How did the current cooperation with you and Frank Seehausen come about?

LD: We were very fortunate to have the opportunity to compile a representative selection from the comprehensive archive of Sigrid Neubert and incorporate the works into our collection. Therefore it was our aspiration to create an exhibition that involves her complete oeuvre – landscape and architectural photography. We curated the exhibition together: I was responsible for the nature part and Frank Seehausen, who also wrote the book about Sigrid Neubert’s architectural photography that will soon be published by Hirmer, took care of the architecture section.

MB: The current exhibition with works by Sigrid Neubert summarized in four keywords?

FS: The architectural photography is presented in four thematic chapters as the core of Neubert’s lifework with manifold references to her free work. We aim to encourage visitors to search for points of view, motives, similarities and differences. Archival material and, above all, architectural drawings make the dialogue between the photographer and the architects comprehensible.

LD: Talking about the landscape photography, two aspects are important to me: Sigrid Neubert has used photography both as a medium of expressing emotions as well as a medium for the development of a unique design vocabulary which together form a very instructive contrast.

MB: What do you think about the relationship between Sigrid Neubert’s architectural photography and the New Vision (Neues Sehen)? The press release also refers to 1950s American photography…

FS: In her architectural photography, Neubert has increasingly distanced herself from the US influences of the 1950s and gradually developed her own formal and content-related approach by carefully working out not only the plasticity of the buildings, but also the interaction of the buildings with the environment and its residents. In comparison, we also show works by Julius Shulman, who influenced Neubert in the 1950s.

MB: Architectural photography can be very elaborate. Which techniques did Sigrid Neubert apply? Did she work in a team?

FS: Neubert mostly worked on her own utilizing only a few facilities. For more than 30 years, she used a field camera and preferred to shoot in black and white on 9×12 glass negatives until the 1970s. This generated particularly high-contrast images in perfect technical quality. However, these harsh contrasts – that were characteristics of her work – were not only stylistic device but should also compensate the poor print quality of many architecture magazines. For Neubert it was important to enter an intensive dialogue with the buildings, which in a sense, she regarded as the representative of the architect’s personality.

MB: The current exhibition also includes landscape photography – atmospheric interpretations of the same – that the artist has focused on over the last few decades. How do you explain her dedication to nature?

LD: After many years of producing commission works for architects and magazines, Sigrid Neubert has created her own field of artistic impact. She has always worked in thematic categories, working on some topics for decades. This shows how intensively she has thought about the medium of photography and its possibilities.

MB: Last but not least a question to you, as the two curators of the exhibition: What kind of photography can be found in your living room?

LD: A lightbox with a black-and-white photograph of Reiner Leist showing the skyline of New York.

FS: An architectural photograph by Franz Lazi from Stuttgart produced in 1950.

Photos: © Staatliche Museen zu Berlin, Kunstbibliothek / Sigrid Neubert

Exhibition Info

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Art Night with Tracey Snelling

February 13, 2018

Miriam’s artist choice of the month

Tracey Snelling is an American contemporary artist working with photography, video, performance and installation. She was born in Oakland (California) and studied Fine Arts at the University of New Mexico. Her environments reflect architectural conditions and its sociological contextualization and allow a voyeuristic glimpse. In her large space filling architectures the viewers’ perception is of high significance. Playing within small and life size formats her ‘sculptures’ involve us getting testimonies of the current surrounding of the artists’ habitat in Berlin. Until April 2018, Snelling is holding a fellowship/studio at the internationally renowned artist residency Künstlerhaus Bethanien in the neighborhood Kreuzberg next to Kottbusser Tor. The Californian had exhibitions in international galleries and museums such as MAD New York, Royal Palace Milan, Königliches Museum der Schönen Künste Belgium and many others. In 2015 she has been awarded a Joan Mitchell Foundation Painters and Sculptors Grant. Art night: Miriam Bers met Tracey Snelling for an exclusive interview:

MB: Living in Berlin almost a year, do you feel integrated, part of the city? What does Berlin mean to you?

TS: I actually first moved to Berlin in February 2016, staying seven months and returning to Oakland. Upon returning, I realized I belonged back in Berlin. I came back to Berlin in April 2017 to complete a sculptural commission with the Historisches Museum Frankfurt and to explore more of Berlin. I do feel integrated into the city. One of the reasons I came back was because it feels like home, yet it’s also exciting and new to me. Berlin means freedom to me. Here, you can be who you really are, and no one gives a second look. Berliners have seen everything here, and I think because of that, they are more relaxed about differences.

MB: In your current show at Künstlerhaus Bethanien and your in life size arranged and romantically appealing ‘Living Room’ and ‘Bedroom’ wrestlers, a punk band and you being tattooed were protagonists in one of the performances held during your exhibition. Do you identify with, do you live in these contexts? Here Nan Goldin comes into my mind. Or is your work rather a conceptual one, kind of a sympathizing absorption of more or less marginalized groups? The models of your sculpted housings are social buildings next to Kottbusser Tor.

TS: A lot of the room contexts, objects, and performances are references from my life, with many of them from my teenage time. I first heard the band Hertzangst play last year in Wedding when the drummer (a friend of mine) invited me to a show. I loved them, and immediately had a picture in my head of them playing in one of my installations. As for the tattoo, I already have three but have been wanting a tiger tattoo for quite awhile, and I met the tattoo artist at a previous residency here in Berlin, ZKU. I do muay thai kickboxing, and incorporated boxing into the opening night and closing night performances. The rooms are homage to my past, my present, and also my fantasies.

MB: How did you find your artistic language, focused on architectural contexts, what does the relation between small size dwellings and life size spaces mean in your work?

TS: I started as a photographer, and would also mix mediums. I started a series of collages and had made one called 1881 Chestnut Street. It’s a brick apartment building with the front wall missing, so you could see all the rooms. This piece gave me the idea to make a small-scale house that was collaged. From here the work continued to grow organically, with video being added to it in 2004. The difference in scale is really interesting to me. The shifts in scale represent how reality is constantly shifting due to one’s perception.

MB: What are your habits, do you live in Berlin like you’d live in Oakland, your hometown?

TS: Here, I go out more! It feels much easier to get around town here. In Oakland, it oftens feels like a trek to get to San Francisco for an art night of openings. There’s also so much to do here.

MB: Which are the spots you like most in Berlin? Do you have a favorite place to eat, a cool bar to go out in the evening? Or do cook in your residency?

TS: I like Berlin in the summer the best (of course). When I lived in Wedding in 2016, I would ride my bike to Mauerpark Sunday mornings, eat something, shop a bit in the used section, and go back to my studio to work. I like the Humboldthain park, the crazy little shops on Karl-Marx Strasse, the Turkish market near the Bethanien. I love the Turkish food nearby–so much to choose from. I never get tired of lamb kabap.

MB: What will you do after your fellowship ends?

TS: I have a month-long residency in New Orleans, an exhibition back home, will visit family and friends, and come back to Berlin.

Tracey Snelling

GoArt! studio visit

 

Studio Visit with Working Title

February 2, 2018

Studio visit with Working Title

The designers of the brand-new label Working Title are still overwhelmed by its great success at this year’s Vogue Salon. For renowned designer Antonia Goy and her partner architect Björn Kubeja, who recently also became involved in stylistic affairs, founding the label was a logical consequence after 12 years of cooperation. Their collections, a mix of high-quality tailoring in the field of haute couture with avant-garde elements, applications, trains or prints, are thereby produced completely sustainably. Miriam Bers met the designers for an exclusive interview on behalf of a studio visit.

 

MB: How does your day start?
WT: Coffee!

MB: Why a mix of haute couture, avant-garde elements and Minimalism?
WT: Our work is significantly influenced by the artistic orientation of the art colleges we have studies at. Le Corbusier, Mies van der Rohe, Bauhaus, art, culture and design history. From the Old Masters to the Modern Age, there is a variety of forms, colors, moods and concepts we pick elements from to develop our very own style. We both share the love for omitting, clear forms and exciting details: Antonia came in contact with the collections of Jil Sander in the press office Karla Otto. Björn is a huge fan of Rem Koolhaas, Tadao Ando and the Japanese architectural duo Sanaa.

 

 

MB: Your style summarized in three sentences..?
WT: Minimal down-to-earth luxury for modern self-confident women. Casualness and elegance in a cool contemporary mix. Completely free of polyester and made of sustainable honest materials!

MB: Which era inspires you the most (design, architecture, art)?
WT: Most of all we are inspired by Classical Modernism and the Renaissance. But basically we are open to everything because we are surrounded by so many inspiring things.

MB: Which was the last movie you have watched in the cinema?
WT: Suburbicon.

MB: How does your apartment look like, what kind of furniture do you prefer?
WT: Our apartment is rather modern and minimalist. A mélange of old and new, inherited and found pieces. A combination of objects we like, not following a particular style.

MB: What is your favorite place in Berlin?
WT: The path along the river Havel beneath the Grunewald tower.

MB: Your place of longing?
WT: The sea.

MB: How does your day end? Do you cook yourself or do you eat out?
WT: No matter when we come home, we cook something delicious – that’s part of our recreation.
MB: Recipe idea?
WT: Spaghetti Carbonara with courgette julienne instead of bacon. Boil the spaghetti al dente, chop the courgette and roast it gently in olive oil and garlic. Whisk eggs, cream, parmesan and fresh pepper and combine everything in a warmed ceramic bowl. Voilà!

Working Title

GoArt! studio visit

Studio Visit Susanne Rottenbacher

January 14, 2018

Studio Visit Susanne Rottenbacher

Susanne Rottenbacher is a German artist based in Berlin, who works in the media light, color and installation. She was born in Göttingen (central Germany) in 1969 and studied stage design at Columbia University, New York as well as light at London’s Bartlett School of Architecture and Planning. Susanne Rottenbacher designs extensive room installation consisting of sculptural elements that, in their combination with light, can be described as ‘walk-in light paintings.’ Two exhibitions of the artist are currently on display in Berlin: at BOX Freiraum until March 3rd and at Haus am Waldsee @BikiniBerlin until February 10th, 2018.

Miriam met the artist for a studio visit.

MB: How does your day start?

SR: Breakfast with my husband.

MB: Why use light as a medium?

SR: Light influences the atmospheric perception that has the potential to change the subjective space-time-continuum. When using and showing light in this way, this interplay opens up a dialog with the observer that questions the auratic impact through comparison.

MB: Your oeuvre summarized in three sentences:

SR: Extensive room installations consisting of sculptural elements that can best be described as pigments of light and that are characterized by great lightness and transparency. They change in dialogue with their surroundings as well as with the time of day. Keywords: Sculpting with light, weightless space-time-narratives, drawing with light, transitions reminiscent of dancing, musical scores.

MB: Which authors inspire you?

SR: Herman Hesse, Mario Vargas Llosa, Philip Roth

MB: Which exhibitions have you recently seen?

SR: The one that moved me most: Tino Sehgal at Palais de Tokyo in Paris. A friend said very appropriately: “If I was a lonely person, I would go there every day.”

Installation view Haus am Waldsee@BikiniBerlin © by the artist

Installation views BOX Freiraum © by the artist

MB: What will we be able to see in your recent exhibitions?

SR: Event spaces consisting of light and color, spatial drawings in the third dimension – in large (Box Freiraum) as well as in small (Haus am Waldsee@Bikini) scale.

MB: What is hanging above your sofa?

SR: Photographs taken by my husband for his new series “Non Plus Ultra.”

MB: What is your favorite place in Berlin?

SR: The Drachenberg (a small rubble mountain in Charlottenburg)

MB: Your place of longing?

SR: Somewhere sunny and warm.

MB: How does your day end? Do you cook yourself or do you eat out?

SR: I cook myself.

MB: Recipe idea?

SR: Quinoa salad with green beans, cucumber, green peppers, lemon juice, olive oil, red onion, and – most importantly – pomegranate seeds.

GoArt! Studio Visit 

Susanne Rottenbacher