BETWEEN WALLS AND WINDOWS. ARCHITEKTUR UND IDEOLOGIE

19 HOURSAT THE KIOSK

A project by Studio Miessen

Federica Bueti, Das Gift (Rachel Burns), Chiara Figone, SimonFujiwara, La Stampa ( Jan Verwoert, Thomas Hug, Jo rg Heiser,Gunter Reznicek, Jons Vukorep), Margarida Mendes, JohannaMeyer-Grohbrugge, Markus Miessen, Patricia Reed, AshkanSepahvand, Something Fantastic (Elena Schuetz, Julian Schubert,Leonard Streich), Hito Steyerl, Felix Vogel, Joanna Warsza,Rimini Protokoll (Daniel Wetzel), Wet Nails.FILMS BY Maren Ade, Eduardo Coutinho, Joana Cunha Ferreiraand João Rosas, António Cunha Telles, Eddy Moretti and SurooshAlvi, João Salaviza, Hajo Schomerus, Franz von Stauffenberg andChristopher Roth.

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H A U S D E R K U LT U R E N D E R W E LT

I N T RO D U C T I O N

This temporal intervention presents a spatial and pro-grammatic scenario through the reinterpretation of one of theoriginal 1950s architectural elements of the Haus der Kulturender Welt. The project creates an informal space of assemblyaround and developed through the architecture of the existingrooftop kiosk, referring to the ideological attempt of the formerCongress Hall to be both a highly visible and ideologicallycharged symbol of freedom, facing — in its original conception—the Reichstag and, later, the Bundeskanzleramt.

19 HOURS AT THE KIOSK is based on an ephemeral masterplan that refers to two strains of thought initiated by MikhailBakhtin and Cedric Price; that of the carnivalesque, and ofnon-prescriptive architecture drawing a line between the affectof architecture on literature and vice versa. A series of externalauthors will be involved in different sets of curatorial actions,including reinterpretations of the content on display, readings,a concert, food preparation, rehearsals, screenings, alcoholicresources and temporary spatial and archival installations, whilea set of informal (architectural) elements create a direct con-frontation with the audience, participants and, in the line ofsight, the federal institutions. Cruiseliner deck chairs—used inthe tradition of English architect Cedric Price’s seminal lecturesat the Architectural Association in London—allow for a nighttimeperspective of the state-political landscape east of the HKWand the former death-zone surrounding the Berlin Wall.

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Many of Cedric Price’s projects—such as the Fun Palaceor the Brunswick—utilize strategic elements that emphasizethe use of informal and incomplete structure, the capacity tochange according to the situation, and the structure’s depend-ence and emphasis on what is happening inside it. This bearssignificant similarities to carnivalesque strategies that inverthierarchies within a social setting, instead applying to the or-ganization of a structure. Price argued against the productionof permanent, specific spaces for particular functions, and in-stead advocated analysis of the motivations that might give riseto such structures. In his promotional material for the FunPalace Price explains how one could “choose what you want todo—or watch someone else doing it. Learn how to handle tools,paint, babies, machinery, or just listen to your favorite tune.Dance, talk or be lifted up to where you can see how other peo-ple make things work. Sit out over space with a drink and tunein to what’s happening elsewhere in the city. Try starting a riotor beginning a painting—or just lie back and stare at the sky.”

The Carnivalesque has been invoked by contemporarywriters in regard to the fall of the Berlin wall. It functions inlate twentieth century seminal german texts, such as those byIngo Schulze, were observed by Markus Symmack, howeverthere has also been counter criticism suggesting that thiscarnivalesque moment was short lived, if at all. The carni-valesque is defined by the experience of a group as opposedto the individual, regardless this very short lived moment ofthe carnivalesque may be due to the very nature of the ideo-logical shift that took place with the Fall of the Berlin Wall.

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On the one hand, the fall represented a unification, on the otherit represented the domination of a system that favored indi-vidualism. Taking into consideration the role of time, thecarnivalesque only exists when time is divided into officialand unofficial. By default—this requires that things “return tonormal ”. Nevertheless, the uniqueness of Bakhtin’s thoughtwas that within carnival he found that these shifts were nottemporary and located only within the time frame of carnival,but went beyond to affect the structure of a society, as wouldlater be explored in his writings on the dialogic.

The existing kiosk is transformed into a vitrine, archive,and reading room, utilizing a series of newly designed andconstructed displays and surfaces, in order for the kiosk toassume the role of a walk-in bookshelf. This element exploresthe theme of Architektur und Ideologie through the displayof published and unpublished material. With regard to accessto content and visibility of the interior condition, the insideand the outside of the kiosk collide. The kiosk is re-appro-priated as a temporary enabler rather than an official archi-tectural symbol to be used in a prescribed way: to the viewerand visitor, the space presents, at times, a harshly hermeticsetting that acts, simultaneously, as an informal social gath-ering space only when activated for 19 hours during themonth of September.

Exploring the difficulty of framing ideology in time, theproject interrogates the importance of the ephemeral as an ideolog-ical relic,a fetish basedon ritualized actions in space as a procession.

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In this regard, the audience is understood as a non-alignedmultitude of active agents who—simply by their presence—provide a prop and backdrop to activate the space and tarnishit with alternative meaning(s).

Studio Miessen is Markus Miessen, Diogo Passarinho, YuliaStartsev, Martin Pohl, Hamed Bukhamseen, Mahan Shirazi,Caspar Noyons.

Markus Miessen is an architect and writer. He has published, amongstother titles: The Nightmare of Participation and Actors, Agents and Attendants.His work has been exhibited internationally, including at Manifestaand the Lyon, Venice, Gwangju, and Shenzhen Biennales. His studiois currently planning and designing a contemporary art center on aformer NATO military camp in Germany. In 2008, he founded theWinter School Middle East (now Kuwait). He is professor for CriticalSpatial Practice at the Städelschule, Frankfurt, and visiting professorat USC, Los Angeles. www.studiomiessen.com

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Saturday, September 1st

Opening with Markus Miessen and Chiara Figone

From 16:00Verses of a Nameless Land,

Audio installation around the Kiosk by Patricia Reed

After 22:00Late Night Reading Group

with Felix Vogel

Verses of a Nameless Landis composed of 194 nationalanthems, redacted to omit all traces of national, ethnic,symbolic or geographicalspecificity and reassembledin thematic movements,maintaining original linestructures. �

Patricia Reed is an artist and writer. Her practice reflects onstructures of co-habitation andthe immanent contingencies of normalized ordering throughartistic and philosophical means.

Late night reading groupon Michel Foucault’s Space,Knowledge, and PowerAlthough Michel Foucaultdid not devote a single monograph on issues of architecture, or more gene-rally speaking on issues of space, they are central categories for his completeworks. His book on theemergence of (modern) medical profession,

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The Birth of the Clinic (1963),Discipline and Punish (1975) on the history of the Western penal system andmost notably his lecture Of Other Spaces (1967) inwhich he established theterm “heterotopia” come to mind. However we willread a lesser known interviewthat Foucault gave in 1982titled Space, Knowledge, andPower. The text is primarilyinteresting because it is oneof the rare occasions in whichhe directly talks about hisunderstanding of architec-ture, respectively the relationbetween space and powerand thus elaborating on theideology of architecture.

Felix Vogel is an art historian andindependent curator, currentlyteaching at the University ofHamburg. His research interestsinclude garden architecture and knowledge culture around 1800,the theory and history of exhibi-tions, conceptions of authorship,as well as documentary and histo-riographic practices in art and film.

Among his recent curatorialprojects are the 4th BucharestBiennale Handlung. On ProducingPossibilities (Bucharest, 2010),The Realism Question (Stockholm,2010) and Scenarios about Europe(Leipzig, 2011-2012). His writings have appeared invarious magazines, anthologies,catalogues and artist monographs.Vogel taught at HEAD Genève,Universidade de Lisboa andUniversity of Toronto.

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Friday, September 7th

Screenings:19.30In My Father’s House are Many

Mansions (German with EnglishSubtitles), directed by HajoSchomerus

Saturday, September 8th

From 19:00Free BBQ & drinks

19:30

~ Screening of The Finissage ofStadium X curated by JoannaWarsza, followed by KioskTalk: Informal and PerformativeArchitecture in Warsaw and Tbilisi

20:30Ashkan Sepahvand

to read a poemPerformance

21:00> Negotiating BoundariesJohanna Meyer-Grohbrügge

In My Fathers House areMany MansionsBrother Jay recently movedinto the world’s most unusualflat share. Nestled in the cen-ter of Jerusalem lies the heartof Christianity, the Churchof the Holy Sepulchre. Underits roof six Christian deno-minations live door to door. The young Franciscan’s gen-tleness is severely challengedby the conflicts in this multi-cultural collective. As FatherSamuel, Prior of the Arme-nian community, defends hisbrothers’ rank in the peckingorder with ploy and passion.Patriarch Theophilos III., on the other hand, is content:his Greek-Orthodox monksrule over the house as if theywere in sole reign. AbdilkadrJoudeh and Wajeeh Nusseibehlock the door in the morningand at night. They keep outof all this – they are Muslim.Nevertheless, they endlesslyargue over the question whichjob is more prestigious: tohold the key or to actuallyturn it.

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Hajo Schomerus born 1970 inHanover, studied from 1993film and television camera at the Fachhochschule Dortmund.During his studies he completedan internship in 1995 at the avant-garde filmmaker Jonas Mekas atAnthology Film Archives, NewYork, as well as two semesters atthe Film and Television Instituteof India in Pune, India.

~ Kiosk Talk: Informal andPerformative Architecture in Warsaw and Tbilisi The kiosk as an architecturaltypology is the best placeto speak about the fusion of formal and informal archi-tecture. The talk will bringthe examples of parasitic architectural sites, emergentand the self-built, which mirror the political, socialand cultural often questio-ning the background of ideologies. One of such is aformer communist stadiumbuilt with the ruins of Warsaw after the II World

War, turned in the 90s intoan early capitalist market andlately into a New NationalStadium for the Euro 2012Football Championship. The other site will be Tbilisi’skamikadze-loggias, the exten-sions of housing blocks mas-sively appearing in Caucasusafter the collapse of SovietUnion but also earlier. We will look at the power of those amazing informalsites and their absence in thefurther planning processes. Nothing of its earlier functions(trade, culture, exchange, socialist modernist heritage,horticulture) was consideredin the new National Stadium.Instead of integrating thefamous kiosks, the bazaar,even its ‘illegal’ pagoda andthe wild greenery examinedby botanists, the Stadiumbecame a patriotic fortress,a white-and-red Ufo basketlanding and believing thatthere was nothing there before. Further, we will search for some hope in kamikaze loggia methods.

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This ‘informal treatment’ of the heritage of Soviet architecture has revealed its anticipatory potential:multiple secondary uses, progressive solutions, the sustainable and self-organi-zing parallel policies inspiringour cultural and architecturaldiscourse of today and theshape of the amazing Mini-stry of Highways in Tbilisi.

Joanna Warsza Born in 1976, is a curator on the cusp of theperforming and visual arts. She graduated from the WarsawTheater Academy and completeda postgraduate course at the Uni-versity of Paris 8 dance department.

to read a poem on top of animpossible geometry, all thewhile considering a party – a movement of bodies enclosedin space and time; presenceon the ground; temporarilyforgetfulness of the past; ra-dical imagination of a future;inevitable collision with the

reality of surfaces; a freneticdance towards confusion,passion, ecstasy and conflict;a ritual of initiation, transfor-mation and transubstantiation;unplanned instances whena crystal forms and patternsbecome recognizable; and ultimately, a choreographicproduction of energy andwaste. a work-in-progress arrangement of ongoing textual and spatial researchfor the project unfold theplan, set for presentation atthe nightclub “basement” in Ramallah, Palestine overthe course of November 2012.

Ashkan Sepahvand is a translator.In collaboration with NataschaSadr Haghighian, he founded theinstitute for incongruous translationin 2011. The institute’s activities in-clude the publication seeing studies,produced by dOCUMENTA (13),with workshops and presentationsin Utrecht, Poughkeepsie, Kasseland Kabul. Previous exhibitionsinclude Sharjah Biennial X,Home Works 5, Jerusalem Show V, Kunsthaus Bregenz and MACBA.

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> Negotiating BoundariesOur socio economic positionand general desire to begrown-ups fosters all kinds ofassumptions that make livingwith porous boundaries seemdifficult but in Berlin amongmany other places, we findconditions that differ greatlyfrom what we’d known inprevious generations. We are more adaptable. We arepart of a generation that hasshared many houses already.Many of us are still sharinghomes in Berlin, homes thatare, more often than not, designed for an antiquated orat least misaligned notion ofthe family. A group of peopledecided to build a house andlive together. All essentiallybourgeois yuppies, we are notinterested in being forcedinto something. We are allbusy and many of us can af-ford to choose our responsi-bilities carefully. The office ofJune14 Meyer-Grohbrügge& Chermayeff is transferredto the terrace of Haus derKulturen der Welt for one night.

The first meeting of the groupwill take place there. Questionsof what to share, how to nego-tiate ownership and land valuewill be discussed.

Johanna Meyer-Grohbrügge is anarchitect from Germany who livesand works in Berlin. Together withSam Chermayeff she has founded theoffice June14 Meyer-Grohbrügge &Chermayeff after working for SANAA

in Tokyo for 5 years. Johanna is tea-ching studios at the Dessau instituteof Architecture and the Graduateschool of Architecture, Planning andPreservation at Columbia University.

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Friday, September 14th

Screenings:19:30 — ◊Arena, directed byJoão Salaviza presented byDiogo Passarinho. 19:50 —+Working With the 99%,directed by Joana Cunha Ferreira and João Rosas20:00 — Introduction by Margarida Mendes, followed by a screening of¥ Continuar a Viver (To go on Living),directedby AntónioCunhaTelles

Saturday, September 15th

From 19:00Distribution of Das Gift°with free BBQ & drinks

19:30— The religion of mytime, reading by FedericaBueti and Jan Verwoert

20:00 — Simon Fujiwara Why I Never Became an Architect

21:00— La Stampa ( Jan Verwoert, Thomas Hug,Jörg Heiser, Günter Reznicek,Jons Vukorep), Concert

◊ Arena— Mauro lives underhouse arrest. The tattoos helphim to burn time. Three kidsin the neighborhood areclose to his window. Outside,the sun beats with the fullstrength of noon.

Directed by João Salaviza — Bornin Lisbon, 19 February 1984, JoãoSalaviza is a Portuguese film director.Studied at the School of Theatre andCinema in Lisbon. He recently wonthe Venice Gold Lion and the Ber-linale Golden Bear for Short Film.

+ Working with the 99%is a promo reel for the project of a documentary by Joana Cunha Ferreira and João Rosas, currently being shot in the PRODACNEIGHBORHOOD in Lisbon.Here, ateliermob is workingwith the local community andmunicipality to create legalregulations and detect riskysituations in the neighbor-hood, which was self-built byits dwellers over 40 years ago.

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Ateliermob defends the repo-sitioning of the architecturalpractice as an urgent answerto the speech that conveysthe idea of a postponed andfutureless Portugal.

Joana Cunha Ferreira and João RosasJoana Cunha Ferreira lives andworks in Lisbon and has studiedfilm in London and Lisbon. Shehas been working in documentarycinema for the last 12 years. Hasdirected 4 films and worked inmany others as a.d. or productionmanager. She is currently workingon a film with João Rosas, PRODAC

NEIGHBOURHOOD, a film soambitious that aims to portraitPortugal in the last 40 yearsusing 88 houses, 3 streets and264 intrepid inhabitants.

João Rosas studied Communicationand Cinema in Lisbon and Bologna.He has a MA in Filmmaking at the London Film School, wherehe studied with a GulbenkianFoundation arts grant. He haspublished three books (short stories)with Fenda Edições. He directedthe documentary Birth of a City

(competition at IndieLisboa 2009)and half a dozen short films, likeMy mother is a pianist (HonourableMention at OvarVídeo 2006)and Entrecampos (competitionat Curtas Vila do Conde 2012).For the last four years, he hasbeen working as camera assistantand editor in Portuguese, Englishand German productions (shorts,features, documentaries).

¥ Continuar a Viver (To go on Living)Between an ethnographic documentary and a filmedmanifesto about a fishingcommunity near Lagos, Algarve.After the carnation revolu-tion, during the followingtwo years, this place lived a particular experience: withthe support of the SAALprocess (Serviço Ambulatóriode Apoio Local – roughlytranslated as AmbulatoryService of Local Support )the old houses were substi-tuted by stone houses,while the community triesto run a fishing co-op.

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This film registers the processof implementation of SAALin this small community,documenting the challengeof shared authorship undergovernmental constraints, and the contradictions whichappear as consequence of theexhaustion that a project ofsuch commitment implies.The SAAL process was apost-25th of April socialhabitation program, concei-ved by architect Nuno Portas,that, although not predictingit, structured with differentends the participation of thepopulations to which it wasdestined. Focusing mainly in urban areas, the SAAL pro-cess was the only architectu-ral plan in action in Portugalfrom 1974 to 1976 and ranged the whole territory,leaving behind hundreds of housing complexes.

António da Cunha Telles — born1935, a portuguese film directorand one of the initiators of thePortugese Cinema Novo, both as a director and producer.

Margarida Mendes runs the project space The Barber Shop since 2009, located in the centre of Lisbon where she holds a program of semi-nars, screenings and performa-tive events. Her research isdrawn towards topics such as cybernetics, non linear dynamics, experimental film, and speculative philosophy. She has curated the shows Vanishing Point, KIM? Contem-porary Art Centre, Riga (2012); White Hole, Supernova Gallery, Riga (2010); Estates-General, various locations, Lisbon (2009); Substance, Spike Island Centre of Contemporary Art, Bristol(2008); among others. She holds a Masters degree in Aural and Visual Cultures from Goldsmiths College, London.

°Das Gift is an old BerlinerKneipe, which was taken overby a Scottish couple, one an artist, Rachel Burns, and theother a musician, Barry Burnsof post-rock band Mogwai.

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The Religion of my time. A reading of Pier PaoloPasolini poems by FedericaBueti / Jan Verwoert — PierPaolo Pasolini is a provocativeintellectual. Provocative in thesense of irritating for the mo-ralist (‘ben pensanti’) Italianbourgeois who have harshlyattacked him and seductive forthose who believe in him as afigure of rupture, as the voiceof those who have no voice.‘The religion of my time is aboutthe crisis of the ‘60s’ says Pasoliniin an interview – it’s about the‘vulgarity’ brought about a capi-talist society and a diffuse revo-lutionary apathy. It’s the void,the terrible existential void.When political action becomesuncertain, it’s the triumph of adesire for evasion, or for a mora-listic insurgence.’The poemscollected in The religion of mytime (1961) expresses Pier PaoloPasolini’s disappointment withthe practices of the Italian Left,the Communist party infide-lity to the armed struggle ofthe young men who had belie-ved in the resistance against

Fascism and Nazism and thecontemporary left inability to understand the desires forchanges and transformationof the poor young people.The revolt of the past is for-gotten, while in the presentit is despised. Pasolini voiceechoes a timeless desire for a radical transformation ofsociety. Following Gramsci,Pasolini envisioned socialchange as steps towards a mutual understanding between different parts of society, historical awarenessand education.

Federica Bueti is a writer and editor-in-chief of the editorial initiative...ment. She is based in Berlin.

Jan Verwoert — A critic and writeron contemporary art and culturaltheory, based in Berlin. He is acontributing editor of frieze maga-zine, and his writing has appearedin various journals, and anthologiesand monographs. He teaches at thePiet Zwart Institute Rotterdam, theDe Appel curatorial program and theHa'Midrasha School of Art, Tel Aviv.

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Why I Never Became an Architect — a mural that projects an intimate diarypage onto a 6 meter brickwall. The text consists ofmusings and sketches thatexplain why Simon Fujiwaranever became and architectdespite being trained as one.In the voice of a teenager,silly and overwrought withsexual innuendo, the muraltransforms the bricks of the wall into the squares of a notebook.

Simon Fujiwara — born in 1982 inLondon, Simon Fujiwara spent hischildhood between Japan, England,Spain and Africa. In dense dramasabout personal relationships, fa-mily relations, politics, architec-ture and history, Fujiwara’s workexplores biographies and ‘real-life’narratives through a combinationof performance, video, installationand short stories. Often appea-ring within his works himself and assuming various guises fromanthropologist to erotic novelist,he also works with a cast offriends, family members and

collaborators, presenting versionsof themselves and their own biographies as characters within his dramas. In linking fictionaland real people, locations andevents he explores the boundarybetween the real and the ima-gined, often revealing the very fiction of such distinction.

La Stampa are GüntherReznicek (aka Nova Huta,synth), Thomas Hug (p),Jons Vukorep (dr), Jörg Heiser(git) and Jan Verwoert (b).2010 saw the release of LaStampa’s debut album PicturesNever Stop – reactions rangedfrom outright hostility (“theyvisit the private views to whichwe are not invited”, AndreasMüller on Berlin’s Radio Eins)to “best German Pop band”(Peter Richter in FrankfurterAllgemeine Sonntagszeitung).Max Dax commented in Spex:“... copy-pasted straight fromNew Wave Eighties and sentthrough a time-tunnel to thecurrent Postpostmodern.

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Only that thanks to complex,reference-rich, topical lyricseverything is more fresh, intel-legent and glamorously aptthan with many other interna-tional bands”. The band isworking on new material, someof which was recently releasedas a limited vinyl editionmaxi-single (Une Fille d’Officier/ Bel Innocent) feat. artworkby Monica Bonvicini. Some ofthe new songs will be perfor-med during the concert on the15th of September at HKW.

La Stampa is a favourite with allage groups and has been especiallyconceive to feign cosmopolitanappeal. The arousing and intimateatmosphere create by the band ismost suitable for dancing dinnerparties and coy late night arguments.Jan Verwoert and Jörg Heiser –German-tongue, English-writingart critics for frieze magazineand other publications – are the voices of third-order postpo-stpoppunk-outfit La Stampa, joined by sinus-wave-guru Reznicek (Nova Huta/GroenlandOrchester) on sound generators,

and the half-argentinian ex-tennis-pro and 12-tone virtuoso fromGeneva, Thomas Hug on elevenfinger piano. This motley crew ofpersonalities is held together byits Bosnian heart, the Balkans-film-impresario Jons Vukorep onadrenaline drums. After two yearsof transitory rehersal rooms andkaraoke parties now it’s time to say:please leap forward sideways,dancing in the dark was yesterday!

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Friday, September 21st

Screenings:19:30Alle Anderen, directed

by Maren Ade

Saturday, September 22nd

From 19:00Free BBQ & drinks

19:00Hito Steyerl, screening

of The Empty Center(German with English Subtitles)

20:15Lecture and screening by

Daniel Wetzel

Alle Anderen — While on a Mediterranean vacation, aseemingly happy boyfriendand girlfriend find their con-nection to one another tested asthey bond with another couple.

Maren Ade was born 12 December1976 and is a German film director,screenwriter and producer.

The Empty CenterPotsdamer Platz is a square inthe centre of Berlin, Germany.Before WWII, it used to be thecentre of the city, the centreof its power. Then it becamea deadly minefield, enclosedbetween the borders of theCold War. In 1989, the BerlinWall comes down. The areabetween the walls, the emptymargins of the border, is open.Now, the centre returns.

Hito Steyerl has produced a varietyof work as a filmmaker and authorin the field of essayist documentaryvideo and post-colonial critique,both as a producer and a theorist.

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Her principal topics of interest aremedia and the global circulation ofimages. In 2004 she participated inManifesta5. She also participatedin dOCUMENTA 12, Kassel 2007,Shanghai Biennial 2008, andGwangju and Taipeh biennials2010 and was the subject of nume-rous solo exhibitions throughoutEurope. In addition, Steyerl holds aPhD in Philosophy, is a professor formedia art at the University of ArtsBerlin and has taught film andtheory at (amongst others) Gol-dsmiths College and Bard College,Center for Curatorial Studies.

Prometheus in Athens with103 inhabitants of Athens“Prometheus bound”: Whatdo Athenians know, what dothey think about it today?Prometheus in Athens is pur-suing this question with 103inhabitants of Athens, whowere found regarding two re-lationships: On the one handthese 103 Athenians repre-sent the city according tobasic official statistic values.

On the other hand they identify/sympathize withparticularly aspect of thedrama “Prometheus bound”.

Daniel Wetzel (Rimini Protokoll)Rimini Protokoll show peoplewho have experiences with thedisposition to durable sufferings;who see themselves as well in a situation of uncompromisinginsurgency; people who under-stand their jobs as a continuationof the “promethian effort” to improve the human future; thosewho execute uneasily but conse-quently the power of the state;those who are on the run; thosewho think to have broken a lawfor the sake of others; and peoplewho perceive god as a more im-portant legislator than civic so-ciety. “Prometheus in Athens”, a contribution by Helgard Haug and Daniel Wetzel to the “Promethiade” at Athens Festival,can only take place in Athens: In the center of the city, a stone’sthrow away from the center ofthe Athenian theater-democracy,for which the “Prometheus”-trilogy was written once.

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Friday, September 28th

Screenings:19:30» Heavy Metal in Baghdad, directed by Eddy Moretti and Suroosh Alvi

Saturday, September 29th

From 19:00Distribution of Das Gift,and closing BBQ & drinks

19:00ª Something Fantastic(Elena Schuetz, Julian Schubert,Leonard Streich), presents aScreening of Edifí�cio Master directed by Eduardo Coutinho

20:30 onwards÷ Wet Nails and special guests

» Heavy Metal in Baghdad —In 2003, the Iraqi heavy-metalband Acrassicauda were thesubject of a Vice magazinearticle. With the magazine’shelp, they were able to stage asell-out show in 2005 despitethe recent ousting of SaddamHussein. Filmmakers fromVice returned to Iraq in 2006to track down the band. Upontheir return they discovered themultitude of death and de-struction, including rehearsingstudios destroyed by bombs.Heavy Metal in Baghdad isa critically acclaimed 2007rockumentary film followingfilmmakers Eddy Moretti andSuroosh Alvi as they trackdown Acrassicauda amidstthe Iraq War. Candid interviews with theband members allow an insightinto a sub section of societysteeped in American pop cultureand the hostilities this attracts.

Eddy Moretti and Suroosh AlviEddy Moretti holds an Hon. B.A.in English and Cinema Studiesfrom the University of Toronto.

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He is currently completing hisPh.D. at NYU. Since 2000 hehas served as director of VICEFilms, co-authoring originalscreenplays with Shane Smith forDirty Bombs and White Lightnin’.

Suroosh Alvi is a Canadian journalistand film-maker who was amongthe co-founders of Montreal-basedVice magazine alongside ShaneSmith and Gavin McInnes in 1994.As well as being a media critic,Alvi has also worked on creatingdocumentaries about places dee-med dangerous in various partsof the world, including the Mid-dle East, South Asia, Africa andSouth America.

ªEdifício Master is an apartmentbuilding situated one block fromCopacabana beach in Rio deJaneiro. It is not different fromany other building in the nei-ghborhood: Built in the 60s, 11floors, a courtyard, and a door-man. It seems natural, it works,but nothing about its shape triesto be outstanding or extravagant.

Edifício Master is home for 233inhabitants of which some arebeing interviewed in EduardoCoutinho’s documentary from2002. What fascinates us aboutthis series of interviews is howpresent and yet immaterial thebuilding resonates in their sto-ries. It forms the backgroundof their lives. It is what theyhave in common. It is insepa-rably connected to them throughtheir memories of wild parties,intimate love stories and fa-mily tragedies. What morecan we achieve as architectsthan to create something assimple and touching as this?

Something Fantastic is a young architectural practice committed to smart, touching, simple archi-tecture. Its works include publica-tions (Something Fantastic,Building Brazil, e.a.), teaching (Technology Exchange at ETH

Zurich, e.a.) and design for privateand institutional clients. Next toSomething Fantastic the partnersSchubert, Schütz, and Streich alsooperate a creative agency calledBelgrad to be able to work in a

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broader field and context of crea-tive production. The belief thatarchitecture is affected by every-thing and vice versa does affecteverything is the basis of theirclaim that working as architectsinvolves a general interest andinvolvement in the world.

÷ Wet Nails started life as ahosting troop for internatio-nally acclaimed party HorseMeat Disco in Berlin. Thejob entailed designing andcreating 3/4 garments to beworn in one evening, con-stantly changing the imageand dancing over every sur-face. Wet Nails describethemselves as “Atmospheredesigners” due to the fact thatthey are hired on their talentof changing the feeling of aparty with their vibrancy,energy and ability to get aroom moving and dancing.

Wet Nails soon got offers formore work for other parties(as well as Horse Meat Disco)

and were invited to eventssuch as Dolce & Gabbannastore launch and the UrbanOutfitters store launch. Theyhave worked for brands suchas BOY LONDON and forVexkiddy’s album launch inBerlin, This year they will beperforming two new musictracks in both Paris and Ber-lin for the vernissage of ico-nic designer Aycha Ayara’sbrand White Light as well as a performance at Berlin’sFetish Fair and releasing a 4part art house documentaryabout gender and body formtitled “A tale of a wet nail”.

Wet Nails now strives to create,collaborating with designerson collections, working closelywith producers on music anddirectors to create fresh andnew ideas and still showingthe world that gender comesin many different shapes, sizesand colours.

O N G O I N G WITH I N TH E KI O S K 23

Archive Kabinett TemporaryReading Room & Bookshop

Curating Content: ArchiveKabinett presents a selectionof publications that inhabit there-designed kiosk-as-archive by Studio Miessen

Archive is Paolo Caffoni, Ellie de Verdier, Chiara Figone, ClaraMiranda Scherffig, Serena Marconi, Gabrielle Veyssiere

Fridays at the Kiosk

On Fridays and select nights,an interior mural will beslowly scratched, cut, andmachined into an engravingon the wall. After each per-formance it will be hiddenbehind a latex curtain.

Yulia StartsevBorn in 1988, Yulia Startsev is an artist and collaborator of StudioMiessen. She graduated fromNSCAD University, Halifax.

Films on loop in the Kiosk

The Finissage of Stadium XCurated By Joanna WarszaWith lecture and screeningon September 8, 2012.

Arena — Directed by JoãoSalaviza. With short talk and screening on September14th, 2012.

Mozartbique— This is a shortfragment out of many fragmentsshown in various places in aMobile Cinema in 2009. Bitsand pieces about an abandonedluxury resort in Mozambique– now home to 3000 squatters– called Grande Hotel, akaPride of Africa. (The Birth ofNation) Bits and pieces abouta film institute, – one of the mostmemorable initiatives afterMozambique’s independencefrom the Portuguese in 1975.

O N G O I N G WITH I N TH E KI O S K24

The People’s Republic invitedfamous filmmakers to helpdevelop a revolutionary cinemacalled Kuxa Kanema: Amongthem Jean Rouch, Jean-LucGodard and Ruy Guerra. Kuxameans birth in Runga andKanema image in Makua.(The Birth of the Image). Andnow it will be a film about thevisible and the invisible, aboutmasks, opera and wars. Mozar-tbique started out as differentvoices and different ways ofediting, presented in a KuxaKanema way by the artist duoRothStauffenberg. It will become a full-length featuresoon in another constellation.

RothStauffenberg— Collaborationbetween Franz von Stauffenbergand Christopher Roth until 2009.Selected solo shows, among others,at Au Temple, Paris, EstherSchipper, Berlin, Michelle NicolFine Arts, Zürich, IndianapolisMuseum of Art, IndianapolisW139, Amsterdam, and BQCologne. Group Shows: a.o. VeniceBiennial, Sao Paulo Biennial, and Schirn Kunsthalle, Frankfurt.

Chiatura, my prideChiatura was once one of themost prosperous industrialcities in Georgia, boastingrich resources of manganese. Due its location in a steepvalley surrounded by highmountains, Chiatura installeda system of cable cars to transport workers to andfrom the mines, as well asmanganese from the mines to the factories. With dein-dustrialisation the manganeseindustry shrank and Chia-tura’s population halved, butmany of the cable cars stillrun, establishing a net bet-ween the city and its people. Chiatura, my pride exploreshow this extraordinary tran-sport system gives characterto the city forty years afterits installation.

A film by Stephanie Endter, MaxKuzmenko, Lisa Müller, UlrikePenk and Kajetan Tadrowski

B O O K L I ST 25

Henri Lefebvre, The Product ion of Space.

Michel Foucault, Of Other Spaces in Architecture, Mouvement, Continuité.

Michel Foucault, Power/Knowledge: Interviews and Other Writings, 1972-77.

Bruno Latour, Peter Weibel, Making Things Public: Atmospheres of Democracy.

Edward Said, Representations of the Intellectual (The 1993 Reith Lectures).

Henri Lefebvre, Writing s on Cities.

Stuart Elden, State, Space, World: Selecte d Essays, Henri Lefebvre.

Lukasz Stanek, Henri Lefebvr e on Space: Archite cture, Urban Researc h, and the Product ion of Theory.

Sarah Edwards, Jonathan Charley, Writing the Modern City.

Felix Driver, David Gilbert, Imperia l Cities: Landsca pe, Display and Identit y.

Lawrence J. Prelli, Rhetori cs of Display (Studie s in Rhetori c/Commu nicatio n).

EdwardW.Soja, Postmod ern Geograp hies: The Reasser tion of Spacein Critica l Social Theory.

Robert Venturi, Denise Scott Brown, Steve Izenour, Learning from Las Vegas.

Anthony Vidler, The Architectural Uncanny.

Sophie Warren, Jonathan Mosley, Robin Wilson, Beyond Utopia.

Amy Bingman, Lise Sanders, Rebecca Zorach, Embodied Utopias.Gender, social change and the modern metropolis.

Craib Buckley, Jean-Louis Violeau, Utopie. Texts and Projects, 1967-1978.

David Pinder, Visions of the City: Utopian ism, Power and Politic s in Twentie th Century Urbanis m.

Douglas Murphy, The Architecture of Failure.

Anne-Julchen Bernhardt, Christopher Dell, Political Landscape = Politische Landschaft.

B O O K L I ST26

Victor Buchli, An Archaeo logy of Sociali sm (Materi alizing Culture ).

Anders Åman, Archite cture and Ideolog y in Eastern Europe during the Stalin Era: An Aspect of Cold-Wa r History .

David Crowley, Susan E. Reid, Sociali st Spaces: Sites of Everyda y Life in the Eastern Bloc.

Blake Stimson, Gregory, Sholette, Collectivism after Modernism, the Art of Social Imagination after 1945.

Sonia Hirt, Iron Curtain s: Gates, Suburbs and Privati zation of Space in the Post-so cialist City.

Marius, Babias, Berlin. Die Spur der Revolte, Kunstentwicklung und Geschichtspolitik im Neuen Berlin.

Sylvère Lotringer,The German Issue.

Brian Ladd, The Ghosts of Berlin. Confron ting German History in the Urban Landsca pe.

Josef Bierbichler, Christoph Schlingensief, Harald Martenstein, Engagement und Skandal. Ein Gespräch.

Charlie Hailey, Camps: A Guide to 21st-Century Space.

Anselm Franke, Rafi Segal, Eyal Weizman, Territories – Islands, Camps and Other States of Utopia.

Eyal Weizman, The Least of All Possible Evils.

Robert Bevan, The Destruction of Memory: Architecture at War.

Andrea Phillips, Markus Miessen, Caring Culture, Art, Architecture and the Politics of Public Health.

Philipp Misselwitz, Tim Rieniets (ed.), City of Collision: Jerusalem and the Principles of Conflict Urbanism.

Stanford Kwinter, Requiem for the City at the End of the Millenium.

Jill Stoner,Toward a Minor Architecture.

B O O K L I ST 27

Tim Edensor, Urban Theory Beyond the West: A World of Cities.

Andrew Saint, The Image of the Architect.

Jane Jacobs,The Economy of Cities.

Civic City Cahier 1: Margit Mayer, Social Movements in the (Post-)Neoliberal City.

Civic City Cahier 4: Neil Brenner, Jamie Peck and Nik Theodore,Afterlives of Neoliberalism.

Civic City Cahier 5: Erik Swyngedouw, Designing the Post-Political City and the Insurgent Polis.

Neil Brenner, Cities for People, Not for Profit: Critica l Urban Theory and the Right to the City.

Keller Easterling, Enduring Innocence: Global Architecture and Its Political Masquerades.

Nina Valerie, Kolowratnik, Markus, Miessen, Waking up from the Nightmare of Participation.

Rosten Woo, Meredith Tenhoor, Street Value.

Marc Angélil, Rainer Hell, Informalize! Essays on the Political Economyof Urban Form Vol.1.

Federica Bueti, Benoit Loiseau, Clara Meister, Social Housing. Housing the Social.

Lars Bang, Larsen, Cristina, Ricupero, Nicolaus, Schafhausen, The Populism Reader.

Nikolaus Hirsch, Philipp Misselwitz, Markus Miessen, Matthias Görlich, Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space.

Nina Möntmann, Art and Its Institutions: Current Conflicts,Critique and Collaborations.

Claire Bishop, Artificial Hells.

B O O K L I ST28

Hal Foster, The Art-Arc hitectu re Complex.

John McHale, The Expandable Reader.

Anthony Vidler, Warped Space.

Jonathan Hill, The Illegal Architect.

Tone Hansen, What does Public Mean? Art as a Participant in the Public Arena.

Stephen Willats, Art Society Feedback.

Kerstin Stakemeier, Janneke de Vries, Stefanie Böttcher, Roger Behrenset al., Space Revised # 1 – 4.

Hans Ulrich Obrist, Cedric Price, Cedric Price – Hans-Ulrich Obrist in Conversation.

Peter Cook, Archigram.

Peter Cook, The City, Seen as a Garden of Ideas.

Anthony Vidler, Architecture. Between Spectacle and Use.

Anthony Vidler, The Scenes of the Street and Other Essays.

Larry Busbea, Topolog ies: The Urban Utopia in France, 1960-1 970.

Simon Sadler, The Situati onist City.

Tom McDonough, The Situati onists and the City: A Reader.

Ken, Knabb, Situati onist Interna tional Antholo gy.

Tim Brennan, New Babylon ians: Contemp orary Visions of a Situati onist City.

Merlin Coverley, Psychog eograph y.

McKenzie Wark, The Beach beneath the Street.

David Harvey, Rebel Cities: From the Right to the City to the Urban Revolut ion.

Oswald Mathias Ungers, Morphologie. City Metaphors.

B O O K L I ST 29

Luca Frei, The so-called utopia of the Centre Beaubourg.

Sönke Gau, Katharina Schlieben, Spektakel, Lustprinzip oder das Karnevaleske? Spectacle, Pleasure Principle or the Carnevalesque?

Renate Buschmann, Jochen Goetze, Klaus Staeck, Anarchie RevolteSpektakel. Das Kunstfestival “intermedia ‘69”.

Mikhail Bakhtin, Rebalais and His World.

Italo Calvino, Invisible Cities.

Jorge Luis Borges, The Library of Babel.

Umberto Eco, Travels in Hyperreality.

Alain Robbe-Grillet, Snapshots.

J G Ballard, Hi-Rise.

J G Ballard, Vermillion Sands.

J G Ballard, Concrete Island.

Ray Bradbury, Farenheit 451.

George Orwell, 1984.

Paul Auster, The New York Trilogy.

William Gibson, Idoru.

William Gibson, Die Idoru Trilogie.

Ingo Schulz, Simple Storys.

Douglas Adams,The Hitch Hiker’s Guide to the Galaxy.

Jonathan Franzen, The Twenty-Seventh City.

Simon Fujiwara,The Museum of Incest.

Le Corbusier,Homme de Lettres.

30 BBQ Every Saturday

Mural by Simon Fujiwara

Friday, Sept. 9 — In my FathersHouse are Many Mansions, directedby Hajo Schomerus

Saturday, Sept. 8Finissage of Stadium X, curated by Joanna Warsza

AK TEMPORARY BOOKSHOP

ººº

FILMS AT THE KIOSKThe Finissage of Stadium Xcurated by Joanna WarszaMozartbique by Franz von Stauffenberg and Christopher Roth

FILMS AT THE KIOSKArena by João SalavizaChiatura, my pride by Stephanie Endter, Max Kuzmenko, Lisa Müller, Ulrike Penk and Kajetan Tadrowski Sept. 1 > Sept. 28 Archive Kabinett temporary bookshop

Saturday, Sept. 1 Patricia Reed, sound installationSaturday, Sept. 8 Joanna Warsza, Kiosk Talk

Saturday, Sept. 8 Ashkan Sepahvand, Performance

BBQ

STAGE

F LO O R P L A N A N D T I M E L I N E 31

Friday, Sept. 14 — Arena byJoão Salaviza > Working Withthe 99% by Joana Cunha Ferreiraand João Rosas > Continuara Viver (To go on Living), by António Cunha Telles

Saturday, Sept. 22Hito Steyerl, screeningof The Empty Center

Saturday, Sept. 22 Felix Vogel, Late Night Reading Group

Saturday, Sept. 14Federica Bueti, Poetry Reading and

reading by Jan Verwoert

Saturday, Sept. 8La Stampa, Concert

C H A I R S

Friday, Sept. 21Alle Anderenby Maren Ade

Friday, Sept. 28Heavy Metal inBaghdad, by EddyMoretti and Suroosh Alvi

C O N T R I B U T O R S

A project by Studio Miessen

Maren Ade (director)Federica Bueti (writer)

Eduardo Coutinho (director)Das Gift: Rachel Burns (artist)

Stephanie Endter, Max Kuzmenko, Lisa Müller, Ulrike Penk and Kajetan Tadrowski (directors)

Joana Cunha Ferreira and João Rosas (directors)Chiara Figone (founder of Archive Kabinett)

Simon Fujiwara (artist)La Stampa: Jan Verwoert, Thomas Hug, Jö� rg Heiser,

Günter Reznicek, Jons Vukorep (band)Margarida Mendes (curator)

Johanna Meyer-Grohbrügge (architect)Markus Miessen (architect)

Eddy Moretti and Suroosh Alvi (directors) Patricia Reed (artist)

Rimini Protokoll: Daniel Wetzel (artist)RothStauffenberg: Franz von Stauffenberg

and Christopher Roth (artists)João Salaviza (director)

Hajo Schomerus (director)Ashkan Sepahvand (translator)

Something Fantastic: Elena Schuetz, Julian Schubert, Leonard Streich (architects)

Yulia Startsev (artist)Hito Steyerl (artist)

Antó� nio Cunha Telles (director)Felix Vogel (art historian)Joanna Warsza (curator)

Daniel Wetzel (artist)Wet Nails (designers)