Play / Stop

16 July – 26 August 2011


raumproduktion at Kunsthalle Düsseldorf is the start of a new series of exhibitions and interventions in the Seitenlichtsaal. The theme of this first year is "space" in all its forms. For the inaugural exhibition, Matthias Böttger was
invited to curate an overview of the contemporary conditions of the production of space.

With his office raumtaktik – office from a better future – Matthias Böttger looks into the social, cultural, economic, and political parameters of the everyday production of space. Topics such as globalization, migration, scarcity, economic change, and privatization are at
the focus of their spatial intelligence and interventions. Starting out from this inventory of the present, raumtaktik, in collaboration with artists, designers, economists, and geographers, develops possible futures and options.

For raumproduktion the architects Julian Schubert, Elena Schütz, and Leonard Streich of
Something Fantastic sectioned the Seitenlichtsaal with strings and modified the spatial experience and perspective. Through this programmatic layout, using only thin strings as colored reference lines, they suggest spatial possibilities that oscillate between graphic illustration and sensory experience. The empty "spatial layout" is gradually filled with images and texts with subjective observations and statements that Matthias Böttger elaborates in dialogue with the different protagonists shaping our lived-in environment.

The newly-created rooms show works by nine artists:

Larissa Fassler's Les Halles is a psycho-geographic model of the soon-to-be demolished Metro station and shopping mall of the same name in Paris. Mapped out by pacing and reconstructed from memory, the result is a cardboard sculpture that depicts cities as organic structures and traces the movements of their inhabitants.

Vandals #1-3 are temporary outdoor sculptures that Julika Gittner kept chained to the roadside and exposed
to the rough conditions of London's East End for several weeks. The Vandals are the triggers and receptors of aggression and vandalism, as well as sensitive artworks and barometers of how the public treats culture outside of the protective walls of museums and the velvet gloves of the educated middle-class, which does not consider the possibility that artworks can live on the "street".
Juul Hondius' works are photo of documentary nature – or seem to be. Although they could have been cut out of a newspaper, they have much more to tell. The details and precision of these staged photos open up time and space, letting the spectator interpret the ambiguity of the setting and think it through. Busfront shows a group of desperate, colored people in a bus... are they immigrants,
refuges? Hondius writes: "It is not the reality that makes the image, it is reversed. Our reality is that of the (news) images." The spectator asks himself, how, where and why was the photo made? Where do the people want to go to and why?

Ingrid Hora's The Great Leap Forward compels movement, but it is practically impossible. It is like dancing on the spot. This artificial movement combines the experience and production of space with individual life stories, marginalization, and transience.

Echoes of Man are fragile sculptures made of thin plastic. They are fragile hands that recall the vulnerability of the world. Jennifer Morone shows that not only sight but especially touch is the sense that produces and apprehends space. If the human mind is the origin of our idea of the world, then it is the hand that develops it spatially.

Michl Schmidt's Manifestation is the prototype of an instant barricade. When not in use, the barricade can be kept in a garage, for example. But in a situation that requires civil courage, the model "Manifestation" comes into action. The narrative-poetic aspect of this artwork points to the popularization of the protest culture and is only very slightly exaggerated.

Alex Schweder La's This Apple Tastes Like Our Living Room Used To Smell from the collection of Bill and Ruth True shows architecture as
it already exists: in transition and transitory. The mould shakes the pillars of the institution and our feeling of security in the world. The mold speeds up our perception of this and makes our bodies and the buildings they occupy horrifyingly connected.

Peter Wendl presents precise ink drawings that could not have been made any better by a draftsman. And
yet they would never be produced as such. His Architekturzeichnungen are disturbing by their scale, temporality and choice of subject, revealing the power of the construction and interpretation of the world.

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