mapping everything texts

MApping EvErythingContEnt CoordinAtEs 3 Lines of Flight

6 Workshop itinerary Zurich

8 detour: presentation stAy in touCh Eric Ellingsen

18 detour: reading practice Nicola Eiffler, Eric Ellingsen and Christina Werner

32 detour: Film screening Eric Ellingsen and Christina Werner

36 Makings: Walks

40 Makings: interventions

42 Makings: postcards from Zurich

50 Workshop itinerary Berlin

52 detour: Conversation “ … to MAkE A Long story short.” Olafur Eliasson and Günther Vogt

68 detour: Areals Workshop ExpEditions into thE

rEAL WorLd Matthias Rick and Christof Mayer

72 detour: Fluids Workshop 11 JuLy 2011, 14:00–18.00 Nicole Beutler

76 detour: Card Choreography Workshop songs oF LovE And WAr Thomas Plischke and Kattrin Deufert

78 Makings: Critiques with Olafur Eliasson, Günther Vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, Nicola Eiffler and Matthias Rick

82 Map of interventions

83 Map of Works

Works

84 01 | Julius von Bismarck | xErxEs

86 02 | Julius von Bismarck and Bruno pilz | BLoWing up Ernst-rEutEr-pLAtZ

87 03 | Allison Bisshop | thE WEAthEr hAs BEEn BEAutiFuL For you

87 04 | Allison Bisshop thE thinking oCEAn hAs its pEAks And troughs

88 05 | rebecca Bornhauser Body CoMpAss

89 06 | Merlin Carter nuLL pointEr ExCEption

90 07 | Julian Charrière and Andreas greiner | doMinions

92 08 | Julian Charrière | pAnorAMA 52°29’54.95’’ n 13°22’18.59’’ E

94 09 | Berte daan and nelly pilz trACking WAtErs

95 10 | Anna denkeler | ZiMMEr FrEi

96 11 | dido schumacher and nina Ehrenbold | pAssAgEs oF Light

98 12 | Elise Eeraerts | strEtChEd CuBE

99 13 | Leon Eixenberger | 9:03

100 14 | Leon Eixenberger Light pAviLion

101 15 | Leon Eixenberger | ModEL For An innEr pErspECtivE

102 16 | pontus Falk | dEAr tiErgArtEn

103 17 | Maresa Fiege gEdAnkEnBArriErE

104 18 | Marc Frochaux | tiEr hunting

105 19 | Marc Frochaux | ring BELLs

EvErything MAttErs

Everything matters. Art matters. public space matters. urban matters. A river matters

the bridge, which matters the banks of the river, which matters the trees and buildings

and streets, which re-matters what the people do, because walking matters, how we

go, where we go, how fast, what we see or hear (when our feet can’t go there), which re-

matters the river and the public space, and the streets. Matters matter, and everything

matters.

What is mapping? the noun map becomes a gerund, an action verb, mapping. the

thing is a process. Every thing is plural, things. to map: an exchange of information,

a designed system of correspondences between one thing and another, a system

of location and position. From map to mapping, potential is actualized, a system of

actions. Mapping: time is in the present; we might as well say nowing. Mapping is

a co-production of spatial relationships, an ecology of perception, movement, and

things. one of those process place things is Berlin, for example. the perception of a

place changes the place. thought is physical. how we feel about a place, for example,

changes our behavior in that place. so how does mapping change the place? What

are the relationships between how we move and the environment we move through?

And, how do you map processes that are constantly changing, which allows for feeling

things out? When i use a traditional map, am i mapping? Can we make feeling maps?

Can we make our maps more felt? Everything is thrown-together by these mediations.

What is everything? Everything or some things? only the things that matter? What

matters? Who chooses? What or who filters everything into some things that matter?

What are the forces at play, the systems at work that organize what we perceive,

whether it is the perceptions of a river in Berlin which we walk beside on our way to

the train, the tracks of which split a part of the city or countryside as it connects us to

where we desire to go? perception already filters everything into a state of what we are

conscious of, aware of.

“Mapping Everything” documents a collaborative, educational experiment between the institut für raumexperimente, udk Berlin, class of olafur Eliasson and the institut für Landschaftsarchitektur, Eth Zürich, class of günther vogt in the summer term of 2011. participants from both classes travelled to Zurich and Berlin for a series of workshops — inputs and detours. these visits facilitated a discursive exchange of ideas between participants and collaborators from various areas of cultural production. the first sections of “Mapping Everything” transcribe and describe these workshops and discussions including selected transcriptions of a conversation with project participants, a mapping workshop led by Matthias rick and Christof Mayer (raumlaborberlin), a dance workshop with choreographer, curator and performer nicole Beutler, and thomas plischke and kattrin deufert (hochschulübergreifendes Zentrum tanz Berlin), and critiques with participants and guests, including Matthias Lilienthal (hebbel am ufer). in Berlin the participants realized works and interventions in and around tiergarten, a large urban park situated in the center of the city. these are documented in the latter half of “Mapping Everything”.

3

Lines of Flight

Apperception, being conscious of what we perceive, is like the difference between lis-

tening and hearing. to listen to a song means to focus our concentration on the sounds

which are called song rather than the sounds which are not song (noise). how do we

understand the relationships which organize the things we are feeling? Everything is in

motion.

Art is a loop of everything. public space is an ecology of everything: everything

economic like the roads and parks and public institutions, everything geological like

granite sidewalks and paved streets, everything plant and animal including humans,

everything desire and development and dreams. this education experiment will use

mapping as an opportunity to engage in the world around us, to be worlding, to act

our spatial questions, to understand systems and constraints which co-organize the

worlding. the purpose of this collaboration between an art class and a landscape

architecture class is to create encounter possibility enhancers, and to use mapping

as reality amplification instruments. this collaboration will focus its attention on

the ecology of relationships between thinking as perceiving as doing art, because

everything matters.

take singing as an example of mapping. the words of a song are fixed. the melody

is fixed. the voice of the singer plays the words, and the body is literally an instru-

ment, which means the song is instrumentalized. something totally of the moment

is co-produced, co-extended. this is a feelback loop: something is internalized — the

song lyrics and melody, then breath is added, externalized — the voice in the environ-

ment, then internalized —listened to by the ears as the sound is bounced around and

absorbed by the things in the space. the space is played by the voice. the body keeps

time by tapping its foot. this loop is life is space. it is all at once thinking, doing, and

deciding. the body fills the words like feet fill a sock, and then the feet walk. Everything

is on a one-to-one scale. A purely phenomenal relationship between thinking and doing

and place is amplified into a relationship of phenomenal and physical constraints that

is emotionally felt and physically made. sound waves.

imagine John Cage sitting at his open window in nyC listening to the song of the

street. he is echo-locationing his position in relation to the street. But his perception

of hearing has a range; he is not hearing everything, like he cannot hear what the two

people on the corner are whispering to each other; he cannot hear the traffic in Los

Angeles, or the art students listening to a performance of 4’33” silence in Berlin. Which

simply means having a body, means also having an elastic filter which cannot sense

everything. Which means something needs to facilitate between feeling the things as

processes we are sensing and the orders of connections which place the things within

hearing’s range. since everything is connected, would mapping help?

4

Mapping Everything

MApping EvErything

Landscape comprises the visible features of an area of land, including the physical

elements of landforms, water bodies such as rivers, lakes and the sea, living elements

of land cover including indigenous vegetation, human elements including land uses,

buildings and structures, and transitory elements such as light and weather conditions.

Art is the product or process of deliberately arranging symbolic elements in a

way that influences and affects one or more of the senses, emotions, and intellect. it

encompasses a diverse range of human activities, creations, and modes of expression,

including music, literature, film, photography, sculpture, and paintings. the meaning of

art is explored in a branch of philosophy known as aesthetics, and even disciplines such

as history and psychoanalysis analyze its relationship with humans and generations.

Combining both their physical origins and the cultural overlay of human presence,

often created over millennia, landscapes reflect the living synthesis of people and place

vital to local and national identity. Landscapes, their character and quality, help define

the self-image of a region, its sense of place that differentiates it from other regions.

it is the dynamic backdrop to people’s lives.

traditionally, the term art was used to refer to any skill or mastery. this conception

changed during the romantic period, when art came to be seen as “a special faculty of

the human mind to be classified with religion and science”. generally, art is made with

the intention of stimulating thoughts and emotions.

the Earth has a vast range of landscapes including the icy landscapes of polar

regions, mountainous landscapes, vast arid desert landscapes, islands and coastal

landscapes, densely forested or wooded landscapes including past boreal forests and

tropical rainforests, and agricultural landscapes of temperate and tropical regions.

philosopher richard Wollheim distinguishes three approaches to assessing the

aesthetic value of art: the realist, whereby aesthetic quality is an absolute value inde-

pendent of any human view; the objectivist, whereby it is also an absolute value, but is

dependent on general human experience, and the relativist position, whereby it is not

an absolute value, but depends on, and varies with, the experience of different humans.

An object may be characterized by the intentions, or lack thereof, of its creator, regard-

less of its apparent purpose. A cup, which ostensibly can be used as a container, may

be considered art if intended solely as an ornament, while a painting may be deemed

craft if mass-produced.

Landscape may be further reviewed under cultural landscape, landscape ecology,

landscape planning, landscape assessment and landscape design.

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Lines of Flight

MAPPING EVERYTHING: WORKsHOP sCHEDuLE, PART 1:

TuEsDAY, 17 MAY 7 pm Welcome and get-together at vogt

Landschaftsarchitekten Ag, intro-duction by nicola Eiffler (institut für Landschaftsarchitektur, Eth), Eric Ellingen and Christina Werner (institut für raumexperimente, udk)

8 pm pizza and “Making of: Film night”: Baraka, Films of Charles and ray Eames, Films of Francis Alys

WEDNEsDAY, 18 MAY 10 am Meeting with günther vogt at

Masoala halle, Zoo Zürich: guided tour and discussion

12.30 am – 2 pm Lunch break2 pm Meeting at Eth Zürich, professur

günther vogt, institut für Land-schaftsarchitektur, hiL h 45.2

2 pm – 5 pm reading of “Manhattan tran-scripts” by Bernard tschumi and watching the making of: “rem koolhaas: Lagos wide and close, an interactive journey”

5.09 pm – 5.32 pm Coffee and discussion5.32 pm – 9.30 pm Lecture: rem koolhaas & Bernard

tschumi: A conversation moderated by stephan trüby, with an introduc-tion by Marc Angélil and philip ursprung; in auditorium hiL E 3

THuRsDAY, 19 MAY8 am – 12 am Final critiques at the institut für

Landschaftsarchitektur, Eth: everyone attends

1 pm Meet at Flussbad oberer Letten, Lettensteg 10, 8037 Zürich

1 pm – 4 pm picnic with lots of sandwiches, crisps, water. participants intro-duce each other, program and cooperation workshop introduc-tion, first experimental mappings

4 pm – 5 pm “Mapping Walks”, back to studio (stampfenbachstraße 59 , 8006 Zürich)

5 pm – 7 pm “Mapping Examples”: presenta-tions by vogt Landschaftsarchitek-ten and Eric Ellingsen, syllabus based

8 pm – 10pm dinner with both groups

guided tour at vogt Landschafts-architektenZurich, May 2011

6

Mapping Everything

FRIDAY, 20 MAY10 am – 1 pm Meeting at Walchebrücke/park am

Landesmuseum: reading practice (smaller group to big group): Certeau, gatty, and Calvino, etc., syllabus based

1 pm – 3 pm Movement experiments and picnic practice

3 pm – 6 pm More Walks and Mapping Experi-ments in public space near China garden and Casino towards Belle-vueplatz

6 pm – 7.30 pm studio tour of studio günther vogt (vogt Landschaftsarchitekten Ag)

8.30 – 10.30 pm dinner and drinks and presenta-tions with the studio team

sATuRDAY, 21 MAY10 am – 3 pm guided gallery tours and gallerist

talks

guided tour of the botanical gardens with günther vogt, Zurich, May 2011

7

Workshop Itinerary Zurich

MAp WALk

take a map from another city and use that map to find your way across the city you are

in. referring to the map, ask strangers where you are and to help you find where you

are going.

six WALks

in ZuriCh And BErLin

36

Mapping Everything

BACkWArds WALk

Walk backwards for fifteen minutes through the city.

sWArM WALk

With a group of people, ask everyone to put their arms out at full length. Ask everyone

to space themselves so that their fingertips are just barely touching the fingertips of

the people next to them. trying to maintain this distance, walk through the city, a park

or across a plain for ten minutes.

37

Walks

LiEdoWn LinE WALk

With a group of people, lie down in a long line, head to toe, in a public space. starting at

the head of the line, ask the last person to stand up and run or walk to the other end of

the line and lie down. Ask the new last person to stand up and walk or run to the end of

the line. repeat this with each end until everyone has ended at least three times.

strAight WALk

starting as a group in public space, each person picks a thing at some distance away.

try to walk in a straight line to that thing and back.

38

Mapping Everything

MAPPING EVERYTHING: WORKsHOP sCHEDuLE, PART II

THuRsDAY, 7 JuLY 12 am – 1.15 pm Welcome and studio tour by olafur

Eliasson1.30 pm – 2.30 pm Lunch at studio olafur Eliasson2.30 pm – 3 pm re-introduction, presentation of

postcard projects, hand out the syllabus experiment kit

3 pm –6.30 pm talk about “Mapping Everything” by Eric Ellingsen: everything is connected to everything else

7 pm – 10 pm pizza and informal project discussion

FRIDAY, 8 JuLY 10 am – 1 pm Explore tiergarten area with Eric

Ellingsen and günther vogt2 pm – 7 pm Experiments in mapping the site

with raumlaborberlin (Matthias rick and Christof Mayer)

sATuRDAY, 9 JuLY 9 am – 2 pm Free to work and explore2 pm Meet at room 110 at udk2.30 pm – 7 pm intensive micro-critiques: indi-

vidual project presentation and discussion with olafur Eliasson and günther vogt

7 pm – 10 pm get-together at Ernst-reuter-platz: barbeque and deadline to hand in information for the map

10 pm – morning urban camping on site

suNDAY, 10 JuLY Free to work

MONDAY, 11 JuLY 9 am – 3 pm Free to work2 pm Meet at room 110 at udk2 pm– 7 pm Mapping movement: exercises with

nicole Beutler, thomas plischke and katrin deufert

7 pm – 10 pm Free to work

TuEsDAY, 12 JuLY Free to work

WEDNEsDAY, 13 JuLY 9 am – 2 pm Free to finish work2 pm – 6 pm Exhibition opening critique /

wandering drift, part i: with olafur Eliasson, günther vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, nicola Eiffler

50

Mapping Everything

THuRsDAY, 14 JuLY 2 pm – 6 pm Exhibition opening critique /

wandering drift, part ii: with olafur Eliasson, günther vogt and raumlaborberlin, (Matthias rick and Christof Mayer), Eric Ellingsen, Christina Werner, nicola Eiffler

6.30 pm – 10 pm opening udk rundgang 2011

FRIDAY, 15 JuLY – suNDAY, 17 JuLY Live-in experience; walks, work-

shops, improvisations and experi-ments. daily guided tours at 2 pm.

daily video screenings at 6 pm “Marathon End and Beginnings”:

conversation with olafur Eliasson and hans ulrich obrist (sunday, 17 July, 10 pm – midnight)

51

Workshop Itinerary Berlin

78

Mapping Everything

exhibition opening critique / wandering drift, part i: with olafur Eliasson, günther vogt, Matthias Lilienthal, Eric Ellingsen, Christina Werner, nicola Eiffler

79

Makings: Critiques

80

Mapping Everything

exhibition opening critique / wandering drift, part ii: with olafur Eliasson, günther vogt and raumlaborberlin, (Matthias rick), Eric Ellingsen, Christina Werner, nicola Eiffler

81

Makings: Critiques

XERXES

Julius von Bismarck, 2011

performance

01

Excerpt from a poem by dorothee Elmiger

xerxes steht am hellespont. die Flotte liegt vor Anker. das Meer wandert vor und

zurück. das tempo (sein tempo) ist rasend schnell. der Wind heult über Wasser, Land

hinweg. die reiter warten, die tausend sterblichen warten, sie alle. das Wetter bricht

unbemerkt über sie herein, am hellespont. die sogenannte naturgewalt ist entfesselt,

am hellespont. die tiere schreien, schreien. xerxes steht am hellespont. katastrophe.

hier ist ein Bild zu sehen. hier entsteht ein Bild vor unsern Augen: hier ist die natur.

hier wird ein Bild von der natur gemalt. hier steht xerxes am hellespont. hier ist eine

Meerenge in der türkei. hier verbindet xerxes seine schiffe mit tauen. hier legt er

holzstämme darüber. hier befestigt er den Weg über das Wasser. hier soll das heer

über das Wasser ziehen um den krieg zu führen. hier greift xerxes ein in die natur.

hier wird die natur belehrt. hier handelt der Mensch. hier behandelt der Mensch die

natur. hier handelt es sich um die Bearbeitung der natur. hier hören wir: Zitat: natur

ist Welt ohne menschlichen Eingriff. hier hören wir von der ersten natur und dann von

der zweiten. hierzu stellen sich Fragen. trotzdem: hier hat sich xerxes am Bau einer

Brücke versucht, anscheinend gescheitert.

xerxes steht am hellespont. das Meer wandert vor und zurück. Zitat: versuchts, ihr

sterbliche, macht euren Zustand besser.

und nun sehen wir xerxes. und nun greift xerxes zur peitsche. und hier hält xerxes

die peitsche in der hand. und hier hat xerxes nach einer peitsche gerufen oder nach

jenen, die den umgang mit der peitsche gewohnt sind. und nun peitscht xerxes das

xerxes

Julius von Bismarck

01

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Mapping Everything

XERXES

Julius von Bismarck, 2011

performance

01

Meer aus. und das Meer wandert vor und zurück. und das Meer wandert vor und

zurück. und das Meer wandert vor und zurück. ( … )

und ich sage: diese natur gibt es nicht. (Aber mein vater lag am Fenster, als ein Blitz

einschlug und seither torkelt er durch die stube und spricht in halben sätzen nur. das

war am 18. september 2011)

und ich sage: dies ist ein pass. dies ist ein schweizer pass. dies ist der splügen-

pass. und ich sage: dies ist mein 3. geburtstag, 1988. die vögel pfeifen. im garten

schon die Äpfel. Wir gehen unter weissen Blüten. in den Alpen, den schönen Alpen

geht eine Familie aus Anatolien. in den Alpen, den schönen Alpen. geht eine Familie

schritt für schritt der schweiz entgegen. die vögel pfeifen. die grüne grenze ist weiß.

im garten schon die Äpfel. Am splügenpass der schnee. siehe: die natur. dies ist die

natur. Einst war die natur. dort ist die natur. dort liegen die Alpen erhaben. dort ist

überall schnee. dort nähert sich die Familie der schweiz. dort liegt der splügenpass.

dort geht noch die Familie schritt für schritt. dort erliegt ein Junge aus Anatolien dann

an der weissen grenze. dort gibt er auf im schnee. dort steht er nicht mehr auf. dort

pfeifen die vögel weiterhin. dort sprechen wir von einem Zufall. dort sprechen wir von

der natur. dort sagen wir: natürlich, naturgemäß. dort sagen wir: die Alpen sind schön.

dort sagen wir: Aber die Alpen sind wirklich schön. dort greifen wir zur peitsche, an

diesem pass Berg gletscher. dort schlagen wir zu. dort erheben wir die hand gegen

die natur. dort legen wir hand an. dort richtet sich ein hieb gegen die Landschaft. und

dort fallen wir schliesslich in eine schlucht. Zitat: dieser Mensch ist so und so, weil die

verhältnisse so und so sind. und die verhältnisse sind so und so, weil der Mensch so

und so ist.

hier sind die verhältnisse so und so. hier ist die schweiz. hier herrschen schweizer

verhältnisse. hier wurde die schweiz gegründet. hier sehen wir die gründung der

schweiz, in der natur. hier geht die sonne auf und hier geht sie unter. hier! hier! hier!

hier leben die Menschen. hier mühen sich die Menschen. hier scheitern die Menschen,

aufs neue. hier sterben sie.

hier leben die Menschen. hier mühen sich die Menschen, ich weiß. hier scheitern

die Menschen, aufs neue. hier sterben sie.

und könnte man sagen, es geht immer weiter so. und könnte man sagen, es war

schon immer so. und könnte man sagen, man hat das glück oder eben: man hat es

nicht. und könnte man sagen, man bekommt, was man verdient. und könnte man

sagen, man wird geboren, wo man hingehört. und wenn man ungefragt über die grenze

reist und wenn man ungefragt über die Alpen geht und wenn man dann ein Bett zu-

gewiesen bekommt, auf einem entlegenen hügel Berg in einer unterkunft ein Bett

ein spind und wenn man dann festgehalten wird in einer Zelle und wenn man dann

ausgeschafft wird, bekommt man dann, was man naturgemäss verdient.

85

Works

THE WEATHER HAS BEEN BEAUTIFUL FOR YOU

Allison Bisshop, 2011

acrylic glass, timber

03

SPRENGUNG DES ERNST-REUTER-PLATZES

Julius von Bismarck and Bruno Pilz, 2011

performance

02

What if you provided all of the crazy jobs with infinite space and material? But isn’t

there infinite space and more than enough material in order to do all of that?

After the preposterous sprinkler system of Ernst-reuter-platz, where not the lawn,

but the summery roadway including the convertibles and the naked cyclists was

sprinkled and blown up, the victory over reason and the fear of consequences

was celebrated in the great fountain.

A comment from one of the bystanders: Why isn’t the fountain simply designed for

that kind of thing? the fountain isn’t designed for that kind of thing! it is the societal

norms, norms that prevent us time and again from doing what is so obvious. the

feeling of really doing it is infinite freedom and happiness. the city belongs to us!

BLoWing up Ernst-rEutEr-pLAtZ

Julius von Bismarck and Bruno pilz

02

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Mapping Everything

THE THINKING OCEAN HAS ITS PEAKS AND TROUGHS


video

04

THE WEATHER HAS BEEN BEAUTIFUL FOR YOU


acrylic glass, timber

03

the thinking ocean has its peaks and troughs. “Later, an

even more daring hypothesis was put forward, that is the

ocean is a thinking substance.”

Experiments in ocean drawing. video of an ocean

drawing machine, the oceanograph, in operation in the

waters off Coogee Bay in sydney, Australia, in March

2011. the oceanograph produces a drawing as it floats,

cartographically mapping the motion and topography

of the oceanic waters. title taken from solaris by

stanisław Lem.

Weather is a silent component of our experience of landscape. it can modulate

our awareness of the features of a space, our comfortableness and relationship with

a space. it can influence how long we linger, how we read a place. how we then

re-constitute that place in our memory.

this project is intended as a gentle transformation of the experience and awareness

of landscape. As if the sun were always shining.

thE WEAthEr hAs BEEn BEAutiFuL For you

Allison Bisshop

03

thE thinking oCEAn hAs its pEAks

And troughs

Allison Bisshop

04

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DOMINIONS

Julian Charrière and Andreas Greiner, 2011

wood box, culture medium, micro organisms

07

Bacteria as space-time machinesdaniel Fernandez pascual

Microbes and bacteria don’t understand political man-made borders. they just expand

and react freely; they are sovereigns of their surroundings. they deterritorialize the

human topographic in order to delimit their own dominion. And they always leave some

sort of trace behind them. trace evidence is left behind when different objects come

into contact with one another revealing a past narrative, like fingerprints indicate a

hand that was once in contact with a surface, or a warm seat in the tube, which reveals

that somebody was seating there before us.

once the cap of a Boletus Erythropus mushroom is nicked and the cell walls are

broken, oxygen alters its colour from brownish-orange to a range of iridescent tones.

Walking amongst these psychedelic fungi in a forest could produce fantastic blue-black

footsteps, as their colour transfers onto the shoes that tread upon them. Colours and

shape distortions that appear on them provide some sort of forensic evidence.

A dynamic landscape narrative starts on us as well after watching these traces.

Landscape sensitive properties are nonetheless preserved in spite of continuous

deformations.

this process of tracking back a series of events in space deals with re-enacting and

re-mapping. in this sense, it could also be considered a deleuzian reterritorialization

process, where Euclidean coordinates turn into a set of dynamic parameters. Micro-

biological mutations can be perceived as space-time machines as well. After watching

them, our brain takes us to a different time and place through a set of topological

relations. how humid was an environment that turned bacteria samples into a pale

tone? or were they rather affected by loads of dust floating in the air? Who knows?

hidden layers of reality become automatically visible for us. the essence of different

places is registered and captured during a certain time lapse. Aren’t these on-going

maps almost more real than reality?

doMinions

Julian Charrière and Andreas greiner

07

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Mapping Everything

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DOMINIONS

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wood box, culture medium, micro organisms

07

in observing microbes’ mutations, space is both represented and built anew in a

constant negotiation of different agents; as Martina Löw puts it when referring to

the relational production of space, which she understands by spacing: the situating

of social goods and people and/or the positioning of primarily symbolic markings in

order to render ensembles of goods and people recognisable as such constitute space.

goods and people are connected to form spaces through processes of perception,

memory and fantasy; we want to imagine what has really happened, why there is a

round-shaped stain on the floor in front of us …

Building space can be considered as an architectural act, but not from the most

classic perspective as the vitruvian triad, which has monopolised over centuries. the

real fundamentals of constructing space have actually never been Firmitas, utilitas and

venustas (firmness, utility and beauty). As Miguel paredes states, built space must

actually be instable, dysfunctional and ugly, changeable and blurry.

1 darß2 Cuxhaven3 hamburger 4 Moormerland5 hohenstaaten6 deister7 Berlin8 schwarze pumpe9 kahler Asten10 dessau11 hambach12 dreiländerpunkt13 Elbsandsteingebirge14 Flughafen F. M.15 ochsenkopf16 porta nigra17 nürnberg18 Murrhardt19 schwarzwald/h20 neubeuern21 Wendelstein22 Zugspitze23 La Brévine24 Zug25 noirmont26 Lully27 rohneletscher28 turtmannthal

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Works

PANORAMA 52°29'54.95" N 13°22'18.59" E

Julian Charrière, 2011

intervention in public space

08

Horizons of the language of horizons paysage n’existe pas günther vogt

Are there mountains in Berlin? Can you plant mountains? does that mean that they are

artificial mountains? the seafarers invented the artificial horizon in order to oppose

the formless vastness of the sea with a spatial orientation vital for survival. We are

introducing artificial horizons into our city landscapes as projection spaces in order to

bestow a feeling of depth onto the space in the direct sense and onto life in the figura-

tive sense. But what and where is the true horizon? does this line that is dependent on

location, body size, and light conditions exist at all? distance and proximity, foreground

and background — does the true horizon only lie in the eye of the beholder?

the city-country opposition has dissolved. the horizon in Europe’s contemporary

city landscape is frequently broken, overly present or hidden. the redeemed utopias

of modernity urbanized the landscape and in the end seduced the landscape into the

city. urbanized landscape and scenic urbanity make the differences, behind which the

horizon used to extend, disappear. Models are more than a miniaturized overview of the

greater whole. in the world of models something is always missing. sensuality, smells

or noises: the things cannot be felt.

pAnorAMA 52°29'54.95" n 13°22'18.59" E

Julian Charrière

08

92

Mapping Everything

the temporal or spatial dimension, the volume or the depth. the implicit

demand to replace the missing parts through imagination is the poetic power

that characterizes landscape models.

Building a model of a landscape means holding a dialogue with a specific, local

appearance of nature. discovering and exposing the substrate of a landscape is much

more than the natural sciences are capable of imparting. picking up the scent of what is

in the air. the model is thus the preliminary stage of a new reality. our gaze is no longer

directed to the horizon in the expectation of new, more distant boundaries.

We must decipher the reality lying palpably before us with its posited meanings,

reinterpret it in an ongoing feedback between reality and model, the strangely familiar

external world and imagination. similar to the technical procedure in film, the montage

of images corresponds to our fragmentary life-world. it uncovers the

principle of construction, used materials fracture reality, lose the

connection to what they originally meant. the parts are no longer

important in their particularity, but rather in relation to the construc-

tion of the model.

What is original image, copy or illusion? the question no longer poses

itself. Landscape is a model, a notion and reality at the same time.

93

Works

MODEL FOR AN INNER PERSPECTIVE

Leon Eixenberger, 2011

ink drawing on body parts, 5 × 50 cm

15

LIGHT PAVILION


intervention with spot light, 25 × 20 m

14

My proposal for a Light pavilion in the tiergarten consists

of a theater spot hanging upright above the ground. its light

precisely pictures the geometrical shape of a standing cone.

the pavilion that emerges is 25 meter high, its base area

measures 15 meters.

By day and in sunlight the glow is only very subtle, but intensi-

fies immediately when the sky is covered by clouds. in weak

light, the form of the cone becomes mere clear, especially in

fog, snow or rain. in absolute darkness, when standing in the

cone of light, another visitor only appears at the moment of

entering the cone.

placed slightly apart from the park’s pathways, the cone is to be found rather sponta-

neously during the day, but at night it draws attention from farther away.

the pavilion is an abstract walk-in sculpture made of light. it includes many possible

uses. the city’s inhabitants and users of the park will define, advance and animate the

sculpture with their reactions to what they come across. the light cone could be used

as a stage for spontaneous performances or shows, or it could become scenery for

romantic moments or even a spiritual place.

the work is the continuation of an experiment in Leipzig from 2011. there, the light

cone reacted to a unique, existent path, architecture and encounter situation.

Light pAviLion

Leon Eixenberger

14

100

Mapping Everything

MODEL FOR AN INNER PERSPECTIVE


ink drawing on body parts, 5 × 50 cm

15

the size of the painted area relates to my body-surface, as the area of rainforest

destroyed since 1985 relates to the surface of the earth. the longish shape resembles

the corridors visible on satelite-images, along which deforrestation is pressing ahead.

i wear the drawing like jewellery at exhibition openings, but also for undefined occa-

sions. on the one hand, it is a proposal for a very personal exemplification-process, and

on the other a communication tool, as individual discussions arise with people asking

about the painting on my hand.

i think jewellery as media is very intimate, direct, and it can, in the best case,

overcome the hermeticism and preoccupation of the exhibition space.

the work is part of a series of experiments, that deal with the idea of a change of

perspective “into the earth” and therefore exemplarily transfer changes in the eco-

logical system onto the body.

i’m interested in whether we posess the emotional capacity to fully understand the

extent of our impact on the ecosystem and act accordingly at all. Connected is the

question, whether it is possible to differentiate between nature and a human sphere,

whether we define ourselves as part of or outside of the system.

ModEL For An innEr pErspECtivE

Leon Eixenberger

15

101

Works

GEDANKENBARRIERE

Maresa Fiege, 2011

chipboard, 196 × 215 × 33 cm

17

73. Versuchsanstalt für Wasserbau und Schiffsbau, Ludwig Leo, 1968-75. Reizvolle alte Wasserversuchsinsel mit Ludwig Leos prächtigem bonbonfarbenem Doughnut.

79. Letzte Wildnis. Letzter richtig verwilderter Teil des Parks. Sumpfig, noch undurchdringlich und gerade deshalb schön.

74. Hausboothafen. Idyllischer Anlegestelle, seit jeher nur von der S-Bahn aus einsehbar. Eine Reihe Briefkästen in den Büschen verrät, dass es hier weitergeht- das westlichste Boot ist ein Restaurant.

80. Musikergarten. Wenn nicht gerade die Philharmoniker üben, ist der Musiker-garten der ruhigste Ort im/am ganzen Tiergarten.

77. Buddha-Baum. Prächtiger Eichenbaum mit vielen Verehrern.

75. 14 Apostel. Eigentümliche Reihe von Wasserpollern mit dazugehörigem kleinen Wasserfall. Der war selbst James Bond einen Besuch wert, ist irgendwie hässlich und irgendwie schön.

81. Henriette-Herz-Park. Irgendwann nach Mitternacht gehen hier die Lichter aus- und es fängt dann an zu regnen, garantiert!

`Mapping Everything´ Summerschool - Proffesur Vogt ETH Zürich / Olafur Eliasson UdK Berlin `Dear Tiergarten ,́ 2011, Pontus Falk

78. Rhododendronwald. Eine der athmosphärischsten Ecken des Tiergartens- wenn man mal über das rege Leben hinter den Büschen hinwegsieht.

Dear Tiergarten

76. Lumpenallee. Zwischen Bahnhof Zoo und Schleusenkrug liegt die wohl beleb-teste Wegstrecke des Tiergartens und gleichzeitig das Schlafzim-mer vieler Tiergartenbewohner.

102

Mapping Everything

GEDANKENBARRIERE

Maresa Fiege, 2011

chipboard, 196 × 215 × 33 cm

17

DEAR TIERGARTEN

Pontus Falk, 2011

point of intervention

16

the official map of the tiergarten park is extended by

a place previously missing from it that is of emotional

importance to the students. As a result, on the one

hand the map becomes more objective (as in more

complete), at the same time, however, a subjective

image of the perception of an individual person. the

additions have been retained in the style of the origi-

nal map, but remain recognizable as later corrections

due to a separating pane of glass.

Freedom from barriers means that objects, media and facilities are designed so that

they can be used by all people without restriction.

dEAr tiErgArtEn

pontus Falk

16

gEdAnkEnBArriErE

Maresa Fiege

17

103

Works

experiments instructions 1 – 7

Jeremias Holliger

20

106

Mapping Everything

TRENDSALAT

Friederike Horbrügger, 2011

color intervention

23

ARTIFICIAL BIRD SWARM / SKY PAINTINGS

Friederike Horbrügger and Fabian Knecht, 2011

unfolded strips of paper and air vortex

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INGO UND IVAR 2011 / ENDOGENER TRIEB

Friederike Horbrügger, 2011

tree, urban installation

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Blaukraut bleibt Blaukraut und Brautkleid bleibt Brautkleid.

pause a moment in a park and watch the diversity of

green. trendsalat transforms apparently unimpressive

greenplants to a flourishing landscape. “Beikraut”,

“unkraut” — who names? the vernacular, the botanical

gardener, or taste?

Asche zu Asche und Holz zu Holz. “Endogener trieb” is

a work in progress, which i am doing all over the world.

Lost, abandoned wooden things, waiting on sidewalks for

new human interest, bulky waste or getting mad at their

plastic colleagues, are given a way back. What do we

know about natural drive? you’re welcome to follow this

movement.

“Artificial Bird swarm” is part of “sky paintings”, a

project that explores the space between cloud base

and ground. invisible air currents conquer gravity and

thus makes pieces of toilet paper fly. it slowly lands on

a grass field after passing the sky 600 m high, above

mountains and valleys and circling with birds.

ArtificiAl Bird swArm / sky pAintings

Friederike horbrügger and Fabian knecht

25

ingo und ivAr 2011 / endogener trieB

friederike Horbrügger

24

trendsAlAt

friederike Horbrügger

23

111

Works

TOKYO-BERLIN VEKTOR

Felix Kiessling, 2011

Autocenter Berlin / Planet Earth / Museum of Contemporary

Art Tokyo

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V O L U M E N


acoustic and olfactory access to inner silo space, Senatsreservespeicher Berlin

33

30cm Inselverkürzung: die Nordspitze liegt jetzt auf meinem Tisch in Berlin Minus, Felix Kiessling, Portinax, 2011

MINUS


30 cm shortening of an island

31

this vector cuts from underneath Lidl, Berlin through the

interior of the sphere of the earth, piercing through

and protruding out on the other side at the Museum of

Contemporary Art tokyo.

30 cm shortening of an island: the northern tip is now sitting on my desk in Berlin.

v o L u M E n

Felix kiessling

33

tokyo-BErLin vEktor

Felix kiessling

32

Minus

Felix kiessling

31

114

Mapping Everything

V O L U M E N


acoustic and olfactory access to inner silo space, Senatsreservespeicher Berlin

33

TREIDLER

Fabian Knecht, 2011

performance, boat, Saint Petersburg

35

MELT

Friederike Horbrügger and Fabian Knecht, 2011

paper, glue, 80 × 120 × 40 cm

34

30cm Inselverkürzung: die Nordspitze liegt jetzt auf meinem Tisch in Berlin Minus, Felix Kiessling, Portinax, 2011

MINUS


30 cm shortening of an island

31

Fabian knecht used a crane to lift a boat in front of the hermitage in saint petersburg

to the elevation of Berlin. the height of the boat was 43 meters, like the average eleva-

tion difference between the cities. Fabian knecht moved the boat by hand over five

kilometers through the city to get it there.

“Melt” is a poster object. the artists ripped off the object from a

amp post and turned the object inside out in the exhibition space.

it contains hundreds of posters glued together over two years. it

was taken from one of Berlin’s hotspots, schönhauser Allee cross-

ing Eberswalder straße. Mould, time, and weather have painted,

decomposed and recreated these posters into a beautiful aeruginous

object, which hangs on the wall like a classical painting. the artwork

unfolds this process of metamporphosis, which is normally unseen,

making it visible.

MELt

Friederike horbrügger and Fabian knecht

34

trEidLEr

Fabian knecht

35

115

Works

INACCESSIBLE

Natalie Koerner, und Maresa Fiege, 2011

performance

36

the attempt to make an inaccessible place accessible. some boundaries are easier

to overcome or to cross than they may seem. the action creates a bridge that will

continue to exist in the memory of the participants.

the ferrywomen do not speak. Just before the crossing, you will be guided to the point

of departure. here you can board the boat after the last passenger has disembarked.

the ferrywoman will take you to a tree trunk that connects two bird islands. if someone

is waiting there, allow them to board the boat before you climb onto a trunk. it’s easiest

if you hold on to one of the branches. After a while, you will be picked up and returned

to the shore. there you will have the opportunity to record your experience on a voice

recorder.

inACCEssiBLE

natalie koerner and Maresa Fiege

36

116

Mapping Everything

INACCESSIBLE

Natalie Koerner, und Maresa Fiege, 2011

performance

36

117

Works

ÜBER (ABOUT, ABOVE)

Jorge Miñano, 2011

neon light, acrylic glass, 210 × 90 cm

40

AROUND (15 MINUTES)

Jorge Miñano, 2011

vector diagram from action in Zurich, Switzerland

39

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10 : 46 10 : 43 10 : 45

TAKING ANOTHER LINE FOR A WALK (AFTER BRUCE MCLEAN)

Laura McLardy, 2011


41

Around (15 MinutEs)

Jorge Miñano

39

üBEr (ABout, ABovE)

Jorge Miñano

40

the neon sign reads “about art”. it appears

to be broken because when it flashes some

letters of the illuminated sentence “about

us” remain off. the title intervention is

intended to make a pun of the description

of a space supposed to hold art, such as

a museum, an exhibition venue or an art

academy. the german words “art” and

“ourselves” seem closely related in this

failed description. the piece was produced to be displayed outside of the principal udk

building, above the main entrance, but due to security restrictions and bad weather

conditions the sign was installed inside.

15 minutes

Watch times from passers-by at schlüsselgasserstraße at st. peter’s Church, collected

from 10:30 am to 10:45 am (guided by the bell sound of st. peter’s church clock,

Zurich, switzerland).

120

Mapping Everything

AROUND (15 MINUTES)

Jorge Miñano, 2011

vector diagram from action in Zurich, Switzerland

39

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TAKING ANOTHER LINE FOR A WALK (AFTER BRUCE MCLEAN)

Laura McLardy, 2011


41

line 1 (l n)n.1. Mathematics A geometric figure formed by a point moving along a fixed direction and the reverse direction.2.a. A thin continuous mark, as that made by a pen, pencil, or brush applied to a surface.b. A similar mark cut or scratched into a surface.c. A crease in the skin, especially on the face; a wrinkle.3.a. A real or imaginary mark positioned in relation to fixed points of reference.b. A degree or circle of longitude or latitude drawn on a map or globe.c. the equator. used with the.4.a. A border or boundary: the county line.b. A demarcation: a line of darker water beyond the reef.c. A contour or an outline: the line of the hills against the evening sky.5.a. A mark used to define a shape or represent a contour.b. Any of the marks that make up the formal design of a picture.6.a. A cable, rope, string, cord, or wire.b. nautical A rope used aboard a shic. A fishing line.d. A clothesline.e. A cord or tape used, as by builders or surveyors, for measuring, leveling, or straightening.7. A pipe or system of pipes for conveying a fluid: gas lines.8. An electric-power transmission cable.9.a. A wire or system of wires connecting telephone or

telegraph systems.b. An open or functioning telephone connection: tried to get a free line.10.a. A passenger or cargo system of public or private transportation, as by ship, aircraft, or bus, usually over a definite route.b. A company owning or managing such a system.11.a. A railway track or system of tracks.b. A particular section of a railway network: the philadel-phia-trenton line.12. A course of progress or movement; a route: a line of flight.13.a. A general method, manner, or course of procedure: dif-ferent lines of thought; took a hard line on defense.b. A manner or course of procedure determined by a specified factor: development along socialist lines.c. An official or prescribed policy: the party line.14. A general concept or model. often used in the plural: a trilogy along the lines of the oresteia.15. A condition of agreement; alignment: brought the front wheels into line; a wage agreement in line with cur-rent inflation.16.a. one’s trade, occupation, or field of interest: What line of work are you in?b. range of competence: not in my line.17. Merchandise or services of a similar or related nature: carries a complete line of small tools.18. A group of persons or things arranged in a row or series: long lines at the box office; a line of stones.19.a. Ancestry or lineage.b. A series of persons, especially from one family, who

tAking AnothEr LinE For A WALk (AFtEr BruCE MCLEAn)

Laura McLardy

41

121

Works

THE SECRET GARDEN

Laura McLardy, 2011

intervention

43

succeed each other: a line of monarchs; comes from a long line of bankers.c. A strain, as of livestock or plants, developed and main-tained by selective breeding.20.a. A sequence of related things that leads to a certain ending: a line of argument.b. An ordered system of operations that allows a sequen-tial manufacture or assembly of goods at all or various stages of production.c. the personnel of an organization or a business who actually make a product or perform a service.21.a. A horizontal row of printed or written words or sym-bols.b. one of the horizontal scans forming a television image.22. A brief letter; a note: i’ll drop you a line.23.a. A unit of verse ending in a visual or typographic break and generally characterized by its length and meter: a line of iambic pentameter.b. the dialogue of a theatrical presentation, such as a play. often used in the plural: spent the weekend learning her lines.24. informal glib or insincere talk, usually intended to deceive or impress: he kept on handing me a line about how busy he is.25. lines Chiefly Britisha. A marriage certificate.b. A usually specified number of lines of prose or verse to be written out by a pupil as punishment.26. games A horizontal demarcation on a scorecard in bridge dividing the honor score from the trick score.27.a. A source of information.b. the information itself: got a line on the computer project.28.a. Music one of the five parallel marks constituting a staff.b. A sustained melodic or harmonic part in a piece: a rock song with a driving bass line.29.a. A formation in which elements, such as troops, tanks, or ships, are arranged abreast of one another.b. the battle area closest to the enemy; the front.c. the combat troops or warships at the front, arrayed for defense or offense.d. the regular forces of an army or a navy, in contrast to staff and support personnel.e. the class of officers in direct command of warships or of army combat units.f. A bulwark or trench.g. An extended system of such fortifications or defenses: the siegfried line.30. sportsa. A foul line.

b. A real or imaginary mark demarcating a specified sec-tion of a playing area or field.c. A real or imaginary mark or point at which a race begins or ends.d. the center and two wings making up a hockey team’s offensive unit.e. Football A line of scrimmage.f. Football the linemen considered as a grou31. informal the odds a bookmaker gives, especially for sports events.32. the proportion of an insurance risk assumed by a particular underwriter or company.33. slang A small amount of cocaine arranged in a thin, usually tightly rolled strip for sniffing.34. Archaic one’s lot or position in life.

122

Mapping Everything

TOPOGRAPHIC LINE

Friederike Horbrügger and Laura McLardy, 2011


42

THE SECRET GARDEN

Laura McLardy, 2011

intervention

43

Mapping into actual space, the topographic line retraces

the fragile yet exact course of a line on paper into a tangible

landscape.

Let’s perceive the open urban space as a mathematic coor-

dinate system and draw an indefinite straight line into actual

space the way we do on squared paper. on route, it connects

every object as well as the distance between them.

inserting the diagram back into concrete three-dimensionality, the line retains its

directionality; although at ground level any unevenness or obstacle is mapped,

prolonging the actual distance and course of the line, from an aerial perspective the

scale is the same as a two-dimensional line on a map.

thE sECrEt gArdEn

Laura McLardy

43

topogrAphiC LinE

Friederike horbrügger and Laura McLardy

42

123

Works

DÉJÀVU-AUDIOTRIP

Bruno Pilz, 2011

installation

44

ANEMOMETER

David Rademacher, 2011

45

dÉJÀvu-Audiotrip

Bruno pilz

44

two participants begin facing each other with eyes closed. By means of

instructions on two synchronized Mp3 players via headphones, they are

instructed to open their eyes. upon doing so, one of them hears uplifting,

beautiful music, the other hears very tense, threatening music.

By means of the instructions, the participants move not only syn-

chronously, but also symmetrically in the symmetrical, mirrored stairway

of the Berlin university of the Arts, so that both have the im pression

that they are hearing the same thing. once they have reached the upper

floor, the two of them move toward each other, at which point the music

reaches a culmination and they come to a kind of showdown. After this, the people

snitch their halves of the room and having reached the other side, they move down the

stairs again synchronously. on the mirror level of the room, in the middle between the

stairs, at eye level there is a dichroic* mirror. As a result, the people lose eye contact

as soon as they have reached the lower end of the stairs. the reflected room-halves

that they see in the mirror overlap with the other on the other side. thus for both there

arises the illusion of seeing themselves in the mirror, but with the other body in each

case — provided that the people are roughly the same size. subsequently, they are

instructed to bend their face down onto the lower corner of the mirror so that their face

fuses with the lower half of the respective opposing face. After this the instructions

leads them to the point at which the respective partner previously started.

subsequently the same procedure is repeated with reversed moods. the partici-

pants now experience the situation once again from the other perspective.

With the “déjà-vu-Audiotrip”, i wanted to show how differently one can experience the

same moment, depending on what mood one finds oneself in.

“Everything that comes from the inside is reinforced from within.” the external

world is always only a mirror for our internal world. it always depends on what perspec-

tive we observe things from — on the attitude with which we approach them. the glass

is not empty when one looks at it from the right angle. thus, we perceive spaces, peo-

ple, moments, and not least ourselves and others according to our personal mood. this

subjective perception often differs completely from that of other people. the interest-

ing thing about the experiment is seeing how much the people also appear to project

124

Mapping Everything

“THE EXTRAORDINARY STORY OF A MAN WHO …”

Alvaro Urbano, 2011

49

SITTING PLACE IN THE GROUND

Quynh Vantu and Leon Eixenberger, 2011

wood, negative space, 5 × 0,6 × 1,50 m

50

our work is both sculpture and architecture for the urban environment. it is an inter-

vention that produces a contemplative place for a single person. on an untilled parcel

in Berlin-tiergarten, an intimate possibility to retreat is formed. recessed into the

ground level of the field, the visitor is liberated from the speed and the sounds of the

metropolis. the sculpture consists of a 60 cm wide and 5 m long slit into the ground.

Accessible from one side, a ramp leads to a sitting place at a depth of one metre.

A mirror is placed underfoot, through which you can see the sky.

genetically modified four-leaf clover bought on the internet and planted somewhere in

tiergarten.

“thE ExtrAordinAry story oF A MAn Who …”

Alvaro urbano

49

sitting pLACE in thE ground

quynh vantu and Leon Eixenberger

50

129

Works

BERLIN 2020

Raul Walch, 2011

public intervention

51

BErLin 2020

raul Walch

51

130

Mapping Everything

RADIO SKETCHES TRANSMITTED ON 90,8 FM

Raul Walch, 2011

urban driftings

52

walk the lines

circle walk

curve map

DURATION OF STONE

Raul Walch, 2011

performance (anthracite coal)

53

“it continues at a snail’s pace and ahead i circle my counterpart, the

beginning of my course. the transmitter remains in movement and the

receiver at the starting point. in a spiral-shaped course, i move further

and further away and the signal becomes weaker and weaker and

breaks off.”

these broadcasts almost work as if through visual contact. sometimes

the developments suddenly open a contact again and the signal is there.

the radio horizon disappears at a greater distance than the optical

horizon. And thus an antenna for the whole hemisphere could be smaller

than the earth’s radius. the transmitter as a pencil and the city as a

drawing board. transmitted content results in a form or a sketch. how

many degrees, curves or shapes will i find in my radio horizon?

A chunk of anthracite coal from the deepest pit of Europe, lifted from about 1500

meters depth and transferred to switzerland. A 300 million-year-old rock brought to

the ground level in a day is carried along the path to the highest point in Europe.

“i want to sink a stone

from the top of the

himalayas in the

Mariana trench.”

rAdio skEtChEs

trAnsMittEd on 90,8 FM

raul Walch

52

durAtion oF stonE

raul Walch

53

131

Works

What you can see is what you can see from where you are.

QUESTION-ANSWER RHYTHMS

Euan Williams, 2011

55

A MASS

Euan Williams, 2011

54

A MAss

Euan Williams

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quEstion-AnsWEr rhythMs

Euan Williams

55

132

Mapping Everything

What you can see is what you can see from where you are.

QUESTION-ANSWER RHYTHMS

Euan Williams, 2011

55

COVER PORTRAITS

Hendrik Wolking, 2011

public intervention

56

CovEr portrAits

hendrik Wolking

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nickname kleenekesse64 onlinevorname: petra Bild von kleenekesse64Alter: 46 JahreWohnort: Berlingeschlecht: weiblichkategorie: sie sucht ihnschulabschluß: größe: 1.5 m gewicht: 83 kgpLZ: 13407 Land: deutschlandAugen: blaugrau haare: rotbraun langFamilienstand: geschieden kinder: Ja Eigener haushalt: Jaraucher: nein Alkohol: gelegentlichkonfession: Bund freikirchlicher pfingstgemeindenLove-Message hier können sie bei kleenekesse64 anklopfen! kontakt speichern Auf der karte anzeigenMehr über kleenekesse64nickname kleenekesse64 onlineMusikrichtung: ich höre alles !Fotoalbum von kleenekesse64kleenekesse64 persönliche Fragennickname kleenekesse64 onlinegehst du in die kirche? Wenn ja, wie häufig und weshalb? Ja, jeden sonntag um den Wochenstress beim Lobpreis rauszupowern und um aufzutanken :) natürlich sind mir da auch nette gespräche mit den geschwistern wichtig. ich liebe das familiäre Flair in meiner gemeinde :)Engagierst du dich in der gemeinde? JA! so häufig und so gut ich kann, wo halt not am Mann ist.Was bedeutet dir der christliche glaube in deinem Leben? ALLEs! ohne ihn und meinem Jesus wäre ich nicht der Mensch der ich heute bin und mein Leben wäre ohne gott sowieso ziemlich sinnfrei!Was ist dir besonders wichtig in einer Beziehung? Meinen glauben muss ich mit ihm gemeinsam leben können, gemein-same gebete sind mir wichtig, gemeinsames gemeindeleben ist mir wichtig, ansonsten natürlich treue, Ehrlichkeit und verlässlichkeit. ich muss bei meinem partner das gefühl haben, einen Fels in der Brandung neben mir zu haben, der sich nicht von der Welt, sondern von Jesus und dem heiligen geist leiten lässt!Worüber kannst du lachen? situationskomik, gute Filme, Comedy und kabarett, über mich selbst. vorsicht, bin etwas schadenfroh :dWas bedeuten dir deine Freunde? ebenfalls alles! (außer, dass natürlich Jesus mein BEstEr Freund ist!) ich habe seit über 20 Jahren eine beste Freundin, die ich auch für einen partner nicht aufgeben würde. Also ein Frauentag sollte schonmal drin sein, genauso wie Er natürlich auch seine kumpeltage haben kann und auch soll. Ein gewisser Freiraum muss da schon vorhanden sein :)Worauf bist du stolz? Auf meinen sohn :)Wie definierst du Erfolg? Wenn was geklappt hat :) ohne Jesus geht eh nichts, also gehört aller Erfolg sowieso ihM allein :dWas schätzen andere an dir? meine Ehrlichkeit, meinen humor, meine große klappe und meine verlässlichkeit. Wenn ich was zusage halte ich mich daran.Wovor hast du Angst? spinnen, vorm FliegenWas für eine rolle spielt geld in deinem Leben? Macht nicht glücklich aber kann die nerven beruhigen :) Muscheln und steine will keiner als Zahlungsmittel akzeptieren... schade eigentlich :dneigst du zur Eifersucht? nein. Es sei denn, sie ist durch tatsachen begründet.Bist du ein tierfreund? Ja, aber kein tiernarr. ich muss also keinen Zoo im haus haben ;)Wie stellst du dir deinen traummann bzw. traumfrau vor Zum Wesen: sanftmütig, besonnen, verlässlich, kEin MACho-das macht nur aua!!! :) häuslich und vor allem sollte er die gleiche humorwelle haben.

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Zum Äußeren, so grob umrissen: 1,80m groß, ca. 85-90 kg, Braune haare, Braune Augen. Am wichtigsten am Äußeren ist aber eine gepflegte Erscheinung, er muss halt auch einen gewissen Wert auf sich selbst legen und er muss das gewisse Etwas haben.

Man muss einfach zusammenpassen. nobody is perfect.Was bedeutet für dich “alt werden”? Lebenserfahrung gesammelt und durch den herrn etwas mehr Weisheit erlernt zu haben, um dadurch anderen Menschen in diversen Lebenslagen zu helfen.

und hoffentlich viEEEELE Enkelkinder :dgibt es etwas wofür du dein Leben riskieren würdest? Für mein kind und für meinen MannFühlst du dich Zuhause am wohlsten oder bist du lieber unterwegs? Beidesgibt es dinge die dir peinlich sind? das verrate ich nicht ;)hast du einen Lebenstraum? ich schau einfach, wohin gott mich führt :) das ist schon aufregend genug :dLieblingsfilme Ben hur, die Zehn gebote, scarlett, gute komödien und ActionfilmeLieblingsserien king of queens, two and a half Men, still standing, golden girls, Cheers, navi Cis, the Mentalist, Criminal MindsLieblingsessen nichts Bestimmtes :)kleenekesse64 sucht

BeziehungMal sehen ;)Freizeitpartner

so sollte mein partner sein...Zum Wesen: sanftmütig, besonnen, verlässlich, kEin MACho-das macht nur aua!!! :) häuslich und vor allem sollte er die gleiche humorwelle haben.

Zum Äußeren, so grob umrissen: 1,80m groß, ca. 85-90 kg, Braune haare, Braune Augen. Am wichtigsten am Äußeren ist aber eine gepflegte Erscheinung, er muss halt auch einen gewissen Wert auf sich selbst legen und er muss das gewisse Etwas haben.

Man muss einfach zusammenpassen. nobody is perfect.pinnwand von kleenekesse64hatte bereits 311 Besucherhier kannst du dich eintragen.Leider sind keine Einträge auf der pinnwand vorhanden.

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Mapping Everything

LOVE STOP

Hendrik Wolking, 2011

video

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LovE stop

hendrik Wolking

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MApping EvErything

on the occasion of the education experiment “Mapping Everything“ by the institut für raumexperimente, udk Berlin, class of professor olafur Eliasson and the institut für Landschaftsarchitektur, Eth Zürich, class of professor günther vogt. summer term 2011.

Editor: institut für raumexperimente, udk Berlin / institut für Landschaftsarchitektur, Eth Zürich

project Conception: olafur Eliasson and günther vogt, nicola Eiffler, Eric Ellingsen, Christina Wernerpublication Conception: Eric Ellingsen, korbinian kainz, Christina Wernerproject Management: nicola Eiffler, Eric Ellingsen,Christina WernerCopyediting/proofreading: Lucinda rennisontranslations: Zentrum für internationale sprachdienstleistungen gmbh design: Basics09 (korbinian kainz, Arne Fehmel)production Management and printing: Zwölf

published by: universität der künste (verlag), 2012

printed in germany

All rights reserved. no part of this publication may be reproduced, translated, stored in a retrieval system or tran smitted in any form or by any means, electronic, mechanical, photocopying or recording or otherwise, without the prior permission of the publisher.

© 2012 universität der künste, institut für raumexperimente, publisher, artist and authors

the deutsche nationalbibliothek lists this publication in the deutsche nationalbibliografie; detailed bibliographic data are available on the internet at http://dnb.d-nb.de

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the institut für raumexperimente is an educational research project by professor olafur Eliasson, affiliated to the College of Fine Arts at the Berlin university of the Arts (udk) and supported by the Einstein Foundation Berlin.

— in memory of our dear friend Matthias rick

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