I strolled through the massive exhibition ‘Welt am Draht’ at Leipziger Strasse this weekend. This is a selection of video art from the massive Julia Stoschek Collection exhibited in the former Czech Cultural center.
Like everybody says the quality of video art in general is extremely inconsistent. That is true in this exhibit as well. There are a bunch of works where it is not at all obvious why somebody finished it, somebody approved it and somebody paid money for it.
The works that were most interesting in this exhibition consistently were not the video ones but those created with a game engine. That may be my own novelty bias at work, but a fully digital workflow like that allows: 1. more and faster iteration 2. fully dynamic products, the combination of which leads to totally new kinds of things that can be produced.
I forget what this was, but despite the concept being more or less ridiculous it has a compelling internal consistency.
RMB City by Cao Fei is a rich and spectacular playground of randomness.
I can’t really argue with any of Ed Atkins’s work which stands out for the pure skill of the renderings combined with spoken word that is not trite (so rare).
Ian Cheng’s Emissary Forks at Perfection is an ongoing collage of elements in a dynamic simulation that looks like an edgy version of the large scale installations Theo Watson makes.
Today I got a tour of the Käthe Kollwitz museum in Berlin. I had wanted to visit this museum for a while but this proved the concrete reason to finally go (though the café next door makes some mean pancakes if you find yourself in the area).
I was recently attended to her existence by MacGregor’s series on German history (episode). I now believe that she is one of the most important German artists of the past couple of centuries. If there are any other significant candidates, I would like to hear about them.
What makes her stand out as an artist are:
Her mastery of both drawing and sculpture.
That she depicts ‘common’ people and social themes prominently. She thought these people were beautiful in their own way and that their plight was one that merited attention. For me this is a stark contrast with how current (artistic) elites try to ignore the ‘common and stupid’ people (like Trump voters).
The loss of her son and how that permeates her later work.
Our tour guide didn’t make the connection but I find it more than fitting that on May 1st we would be looking at for instance the Weavers cycle (one of which I have pasted below).
Kevin posted yesterday that he had an extra ticket for Max Richter’s Sleep at Kraftwerk Berlin yesterday. Without a moment’s hesitation I packed my sleeping bag and cycled there with him.
Kraftwerk Mitte is a disused power plant in the middle (Mitte) of the city that is now a club venue and host to a variety of events. The most striking features of it are large open spaces and lots of exposed concrete everywhere.
Max Richter I didn’t know before but I quickly confirmed that I would agree with his music. It had been one of my desires to attend a classical music concert while lying down being able to doze in and out of sleep as your mind and body dictate. Classical concerts tend to be long and uncomfortable affairs.
I hadn’t imagined I would get the chance to do this during an 8 hour overnight concert.
The music is very smooth to listen to and it is a kind of music that Richter is known for (read this interview). I’m listening to From Sleep now as I write this. I listened to the first couple of hours and then fell into a fitful sleep until I woke up again at 07:30 to catch the end.
Sleeping on stretcher beds at a power station 15 minutes cycling away from home with a couple of hundred other people was a strange experience. It was for one one of the lowest key camping trips I have ever undertaken. Though I’m used to the occasional communal sleeping arrangement, those are totally different situations. Berlin’s club spaces facilitate experiences in between the intimate and transgressive but even then this is an odd one out.
I probably also wasn’t the only person in the room who considered it wry that we would pay €48 to sleep in circumstances similar to thousands of others in Germany right now.
I’m still not sure what to make of the event but it is a memorable experience that will stay with me for a while like a dream but more powerful.
At the end of 2015 personal and professional changes made it clear to us that we would not continue Hubbub in its current form. That realization made me reorient myself in Berlin and refocus on my core skills as an engineer.
I set myself the goal to work on a significant product as part of a larger team. I thought it would be useful to change up my professional life which thusfar had consisted only of freelance and client work. A long story short, as of this week I’m employed as a software engineer at ResearchGate.
The idea that German television is necessarily terrible has to be reconsidered. I’ve recently started watching Deutschland ’83 which is amazing (more on that later) and yesterday I finished season two of the web series Mann/Frau by BR PULS.
Mann/Frau is a mirror format byte-sized episodic where each installment details the interactions of a man and a woman their relations and lives. It treats most of the themes occupying people around my age living in Berlin but manages to do so drawing more from slapstick than from cliché.
The series is helped enormously by the fact that each episode concludes somewhere under five minutes. Brevity unfortunately is a rare commodity in Germany. The benefits of it here are that it forces them to get to the point quickly, cut rapidly and finish. Episodes of this length also greatly facilitate binge watching. I had never considered you could make a traditional format series with episodes this short, but it works fine.
Halfway through I did develop an intense distaste for the man (Mirko Lang) and the man episodes. This isn’t just because the man character is a huge doofus, but also because it turns out that the man and woman episodes are written and directed by a brother and sister respectively. The woman episodes are more punchy, contain less whining and more action.
In this interview with the brother and sister directors the problem becomes painfully obvious. During the entire interview the brother does most of the talking but doesn’t say anything of substance.
I will keep watching when the next season comes out but I might just fast forward through most of the man’s episodes.
These series may have a catalytic effect on the German television landscape. By their very existence they educate the tastes of an audience that might not have known or expected something like this to be possible. And actually creating something good in turn makes it so that other tv makers can’t hide behind the excuse that the whole landscape is mediocre. Who knows what more may be possible.
The Komische Oper is a ten minute bike ride from my house and you can get a discounted ticket with some mild visual obstruction for €18. This makes it a fairly ideal way to spend a Sunday in Berlin which otherwise can be fairly quiet (stores aren’t open, most places close at five or six).
I’m not an expert on opera but I enjoyed the staging and the performances a lot. The Komische Oper’s productions can look a bit kitschy but this was all fairly in line. I can’t share anything from the play thanks to an extremely stringent copyright policy, so below is a recording of one of the major songs by the Met.
After having severed my relation with theater, opera is something that is still fun and interesting to me. What is especially interesting about opera is that despite it fielding some of the biggest budget stage productions we have, it allows a lot of space for weird things. That is not just the case for this opéra fantastique but reading the plot of any opera will leave you amazed at how cheesy it is.
The fact that opera is so open to even the dumbest of stories and at the same times is a spectacular confluence of the multimedia arts would indicate that it has a grand future. Unfortunately the average age of the attendees indicates that that is not the case yet.
I talked about the topic with Peter a bit and thought it to be a natural extension of his work in the connected devices spaces and their recent visit to Casa Jasmina in Torino.
I hope to get around to reading it soon since right now I have no desire or opportunity to live in a connected home. The housing stock in Berlin is old and does not lend itself well to connectivity. Our current house has a central water heater but even then most faucets are heated locally using electricity. Internet connectivity (let alone Fiber to the Home) is hard to find in many houses and you can count yourself lucky if you can get a Kabel Deutschland connection.
I think I would like to take the best of what these technologies can bring but they probably only make sense if you innovate in the other layers of a house as well as in what is built and the way it is built.
If you look at the six Ss, connectivity consists of things at the manufactured level of Stuff (cheap consumer grade electronics from China). It latches onto the Space Plan and I would guess it has considerable effects on that and would benefit from changes in that plan. More problematically it pierces these layers and as such deteriorates the structural integrity of the house further. Connected things need to either interface with the Services layer or call for new Services to be deployed throughout the house. These move from the inside out but also from the outside —Skin layer— in when it comes to things like solar power and geothermal connectivity.
It seems an interesting though complicated time to be an architect. The API and expectation surface of a house is exploding while the margins and expertise of your average architecture practice leave a lot to be desired.
What would then seem obvious is that we need systematic and generative ways of creating our dwellings in which the inhabitants of a house are participants as much as the traditional experts are. It seems like connected homes will make more sense and sense made of them when you consider the movements of self-built buildings and open source dwellings.