Citizen Art Days // Kooperative Kunststrategien und Beteiligungspotentiale im öffentlichen Raum

CAD market place #4 - University of the Trees - Berlin

2014-05-16T17:16:18Z

9 – 14 June 2014

Citizen Art Days ‘CAD Market #4' invites you to an intensive University of the Trees (UoT) programme from 9 -14 June in Berlin Mitte, facilitated by Shelley Sacks. University of the Trees (http://www.universityofthetrees.org) is an on-going platform for working with social sculpture understandings and practices in the field of human-nature interactions, transformative education, and creative, cultural action.

The programme runs daily from 15.00 to 19.00 [except Monday 9 June which is from 16.00 to 19.00] will introduce the core principles of the UOT as well as some of its programmes, like ‘Earth Forum'. The workshop will also position the UoT in the wider field of social sculpture, including associated people and projects. This will include an update on current UoT developments and future priorities.

Sacks says: “University of the Trees is a platform for developing creative responses to the ecological crises of our time. This includes perceiving our relationship and attitudes to the world. Exploring different kinds of thinking and experiential knowledge, as well as the relationship between ‘imaginal' thinking and action, it is an alternative, mobile university that offers ‘instruments' and approaches for connecting imagination and transformation, re-schooling the senses and building creative capacities for resilience. It is a university that stimulates ecological citizenship based on awe and working with what is difficult. As ‘artists' of a viable future, we need to explore the relationship between freedom and responsibility in all aspects of our lives, as well as the connection between inner work and outer work. The new dialogue processes and practices –like Earth Forum – are designed to facilitate such connections and to develop creative potential. In this global, participatory social sculpture – that can be realised and recognised everywhere on the planet - the trees and other beings are also teachers and the ecological crisis is an opportunity for consciousness.”

The workshop in Berlin
You can participate with or without prior involvement in the UOT. At the beginning of the week there will be an introduction to the UOT and the opportunity to participate in an Earth Forum. Two days in the middle of the week are set aside for those who want to do the Earth Forum training, and for those who have done it and want to deepen their practice. On Friday other UOT instruments will be introduced and discussed, as well as the forming of a Berlin-UOT group/s. On Saturday we will do an acupuncture action, renewing the tree-bands around the Victory Statue. After this we will create a temporary ‘field of awareness' and discuss how this can be used in different situations and localities.

If you have not yet done an Earth Forum and do not know about UOT, then you need to participate in the first two days at least. However, we recommend you participate in all the sessions if possible.

The sessions will be in German, with some English.

To cover the basic costs we are requesting a minimum contribution of €20. Please contact us to book a place.

Download venue

Venue: download site plan

Shelley Sacks, a student and later a colleague of Joseph Beuys has for more than three decades - through her own practices and research - been exploring ways to make accessible and develop Beuys' social sculpture proposals. This includes an exploration into the relationship between the imagination and transformative processes, as well as learning how to think together.

contact: anmeldung@citizenartdays.de

Link: https://www.facebook.com/socialsculpture

Program

Monday 9th June
4 – 7 pm)
– Inroduction
– Create a Field of Awareness

Tuesday 10th June
3 – 7 pm
– Earth Foren

Wendsday 11th June
3 – 7 pm
– Earth Forum Training

Thursday 12th June
3 – 7 pm
– Earth Forum Training

Friday 13th June
3 – 7 pm
– more instuments

Saturday 14th June
3 – 7 pm
– Field of Awareness, Tiergarten Berlin

Credits

Stefan Krüskemper — 2014-05-16T12:48:59Z

Bundeszentrale für politische Bildung

Nikolaus Driessen, Bernd Maier and Florian Niedermeier (Markthalle Neun in Berlin-Kreuzberg); Florian Kliem (Kantine Neun)

Pfarrer Jörg Machel, Sabine Wette and Christina Lenz (Emmaus-Ölberg-Kirchengemeinde)

Christin Lorenz, Johanna Stiller and Anna Theil (Startnext); Larisa Cataño, Angélica Chio, Carla Schulte-Fischedick, Nina Thorwart (support Bürgercampus)

Martin Schönfeld, Nikolaus Driessen and Thomas Weber (authors). Michael Schneider, Verena Wloch (publication)

Claudia Bormann (Assistenz), Miriam Kronberg (Social Media) and Stella Vecciana (Funding) für ihre Mitarbeit ...

Idea

Stefan Krüskemper — 2014-05-16T12:43:10Z

Citizen Art Days provides a platform for renowned artists and urban actors, together with interested members of the public, to examine Berlin's public space using artistic strategies. Growing segregation within the social space provides for the erosion of the "public space" as a location for social communication and democratic process.

Following the belief that artistic approaches represent a suitable starting-off point to confront these developments creatively and formulate self-developed standards, standards are developed and concrete projects implemented in a series of workshops. Thematic issues discussed include, among others, the economy, sustainability and interaction in the public space.

The public space is the place where interaction, social communication and democracy take place. An increasing interest of citizens worldwide to participate in community processes can be observed. But it is accompanied by a limited repertoire of participation's forms, a lack of understanding between involved actors, an increasing isolation of living environments and the drifting apart of different living conditions. The Citizen Art Days are based on the conviction that art projects, which are realized by citizens, artists and urban actors together, are an appropriate approach to counteract those negative developments.

Citizen Art Days means: Shape / Design / Create your city actively. Develope creative projects with well-known artist. Contribute own ideas concerning important matters /issues of today. Share experiences and inspire each other/one another! Citizen Art Days offers: Workshops, lectures, discussions and city excursions with and from artists for all interested people/ for all who are interested. Creative work and exchange. The topics are: economy, sustainability and living together in the public space of Berlin.

Supported by ...

Stefan Krüskemper — 2014-05-16T12:37:49Z

with support from (“National Centre for Political Education”) Bundeszentrale für politische Bildung/bpb

Partners

Stefan Krüskemper — 2014-05-16T12:34:19Z

Markthalle Neun

Partners - Culture

Büro für Kunst im öffentlichen Raum (bbk)

Public Art Wiki

id22 – Institut für kreative Nachhaltigkeit

Partners - Media

Zitty (Das Stadtmagazin des Tagesspiegels)

KunstStadt/KunstStadt (bbk)

Public Art Wiki

Oya

Partners - Education

Bundeszentrale für politische Bildung/bpb

Raumstrategien, Kunsthochschule Weißensee

cv

Stefan Krüskemper — 2014-05-16T12:25:37Z

The Citizen Art Days (CAD) are developed by the in Berlin based artist team "Parallel Worlds" consisting of Stefan Krüskemper (GER) María Linares (COL) Kerstin Polzin (GER).

Stefan Krüskemper (bik) · born in 1963 · lives in Berlin · activities in art in the field of urbanism and integrative art strategies · studied architecture at the university Dortmund, diploma · studied post graduate art and public space at the AdBK Nürnberg · visiting professor at the AdBK Nürnberg and Alanushochschule Alfter/Bonn · since 2006 commissioner at the committee for art and public space (Kulturwerk) · activities in juries · exibitions among others: NGBK Berlin / Galerie Zé dos Bois Lissabon (Portugal) / Neuen Museum Nürnberg (Germania) / Kunsthalle Exnergasse Wien (Austria) / Künstlerhaus lugar a dudas in Cali, (Colombia) · in Berlin is the sound installation ‘Air Borne' stable at the public space of the Humboldt university (Campus Adlershof) · (www.integrative-kunst.de) (www.krueskemper.de)

María Linares born in 1970 in Bogotá / Colombia · lives in Berlin · studied art as well as philosophy in Bogotá · studied post graduate art and public space at the AdBK / Nürnberg und art in context at the UdK / Berlin · among others exhibitions: 2007 The Intricate Journey, NGBK · / 2006 Paris Biennale / 2004 Poly-Graphic triennal; Latin America and the Caribbean, San Juan, Puerto Rico / 2004 39th salon for art Colombia, Museo de Arte Moderno de Bogotá / 2003 5th Biennale der Karibik, Santo Domingo · one of the founder of ‘daily
services' (www.dailyservices.net) · 2001-2002 Kunstcoop ©, Kunstvermittlungsgruppe (a group conveying arts) NGBK – specially for projects of the competition Alexanderplatz U2 (www.marialinares.com)

Kerstin Polzin born in 1971 in Berlin · lives in Berlin · sudied architecture in Weimar / Dresden · scholarship FES · studied art at the KH Berlin-Weißensee diploma / Meisterschülerin · 2006 visiting lecturer for art university Dortmund ·2007 diploma post graduate art and public space AdBK Nürnberg · cooperation with forschungsgruppe_f Zürich / Stuttgart and with Urban Research Institute Nürnberg · since 2005 with Anja Schoeller artist duo zwischenbericht · since 2009 with Stefan Krüskemper Intervention Superconstellation · art projects in public spaces / group and single exhibitions: 2010 examples to follow!, Uferhallen Berlin, 2008/09 ERFAHRUNGsPRODUKTion, former AEG Area Nürnberg , 2006/07 subitus sanctus I & II Elisabetkirche Berlin & on tour Prenzlauer Berg,Berlin, LITTLE Germany forschungsgruppe_f, KV Stuttgart, 2008/09 Zentrifuge Nürnberg, 2004 Kunst[rom Bergen (Norway), 2006, Bertrifft Scheibbs, Scheibbs Austria, 2006, r/e/mig(r)àciò Stùdió FKSE / A38 / reactor / Budapest, 2004 sacred spaces westpreterian church New York, 2005 geechoo / firsth shanty road Bangalore (India) 2006 (www.zwischenbericht.eu) (www.superconstellation.info)

Interview with Meena Vari

Stefan Krüskemper — 2014-04-01T08:23:46Z

Parallele Welten: How did the development of the Interim Semster at Srishti came about ?

Meena Vari: We started at Srishti with the Interim Semester in 2004. There were a lot of departments and every department was separate. Students never talked to each other. We thought that it would be interesting to have an interdisciplinary space build into the system so that students from different semesters and faculties are forced to talk to each other. Interim Semester was created with the focus that students should go out of the class room, connect with the public and create works from the public space itself.

PW: Do you see a difference in the use of public spaces here in India to other parts of the world?

MV: in India there are very few opportunities for people to see interactive performance based art in public spaces, but historically we had a lot of things that used to happen in the street places. You have people walking around like the circus groups. Handicraft and political activists, as part of their daily life, are performing outside. But they don't see it with that art vision, they see it as cultural things.

PW: What do you expect from the participating artists?
We invited artists for the Interim Projects from all over India, international artists, and also artists who are all ready practicing within Srishti. This year we had 22 projects in total during the one month lasting Interim Semester. As an institution, you have to guide people to the future. Where is the future for them, that is what we have to show and thats why practices like yours become important for students here. It is like opening different ways of thinking for them. For me the Interim worked, when the students find open windows and doors to associate with the public in a way.

PW: What is your vision for the future of the Interim Project?

MV: We look at an area, a practice that can have conferences, workshops and presentations, we can invite people, who are already experts. People from all over the world come and participate within the Interim Semester, so why not creating a bank of knowledge, that can be shared with people and which can be refered back. A bank of knowledge which is practiced in the public spaces, or practiced within experimentation that new media and new mediums offer. That would be a kind of a vision.

Meena Vari is Dean of Contemporary Art and Curatorial Practice at Srishti. Since 2002, she has been developing, organizing events and projects in close association with faculty members, visiting artists and students.

Published in Stadtkunst Kunststadt

Interview with Deepak Srinivasan

Stefan Krüskemper — 2014-04-01T08:22:23Z

Parallele Welten: What‘s the Tree Festival itself?

Deepak Srivinasan: Bangalore's history is tied to trees but nobody is really aware about the cultural and the historical aspects of natural heritage. Trees mean a lot for everyone connected to the city in terms of identity. The sudden growth of the city causes the authorities to run over private and public property and widening the old planted roads, getting of the trees. The numbers of old Bangalory who has been living here for twenty years are incredible low and accordingly the memories of what was. That are starting points for us to conceptualize the festival. It's a larger network of Artist, ecologists, musicians and tree-enthusiasts. We create a space for conversation. We are trying to find creative ways of protest which will involve more and more people, to allow them to see differently and become a part.

PW: What means Citizenship in India?

DS: Only It becomes evident in time of political elections in India. If things are going wrong politicaly class groups which have all the facilities might talk about it but they don't necessarily see it impacting citizenship. Academics NGO's and artists - the intellectuals of the society are the ones who more directly deal with the question of citizenship. Other groups are not really connected to it. The discourse is stuck in this sort of English speaking world. In the post colonial sense in of the divided India it becomes a divided sense of public.

PW: How are you trying to reach communities?

DS: We wanted to be more local in terms of the languages that we're communicating in. So we want to take some of the content back into more local and originally spaces. It has also to be done out of the rich tradition of the left using culture in protest using propaganda. People have to engage with new material which is not symbolic. Aesthetics becomes important in the process. You can‘t be an activist without bringing an aesthetic. We have always been thinking in images. When the public really engages it's not only about that cognitive rational sense of what should be right and wrong or what is democratic. The Indian public is connected to the image. We need to actively bring back the image and image making and thinking about images. It's all about compensation and communication and fighting ignorance.

PW: what is your role as an artist?

DS: I‘m critical of activism and art and the ways it function in the city. We really need a new way of imagining this in between characters. It's not so much of a role of an artist is much more of a facilitator of dialog.

Deepak Srinivasan - performance artist, media practitioner & researcher, founder of the Neralu Begaluru Tree Festival 2014

Published in Stadtkunst Kunststadt

Interview with Surekha

Stefan Krüskemper — 2014-04-01T08:20:10Z

Parallele Welten: How did you came to accept the curatorial work at the Rangoli Metro Art Center (RMAC) being an artist?

Surekha: Because of my kind of work. It's a big responsibility working in a public space. At the RMAC we had to start from the beginning, because in Bengaluru there are not public spaces like this. Here the space needs a different kind of art. So I think my work is getting people together, sort of connecting them and opening the public space.

PW: For most of our students it was the first time working in the public space and they were surprised because of the restrictions they found at the RMAC. Is there a difference working in the public space in terms of rules?

S: It is something in between, I think. I'm from the art background, I've been working as an artist for more than 15 years and we have those spaces that are private and we know what is happening there, we all know how things work there. Here I don't know how the reaction is going to be, you have 2.000 people walking and 2.000 opinions. If one person comes and falls here, he will go the press. Simple things like that... Those are the questions we have to handle here. Since I'm here responsible, I'll try to negociate and find a way within the system, so that things can be done.

PW: How do you see the development of the RMAC? According to restrictions, to the questions of public space...

S: Since the begin we realized that the space could be opened not only for visual arts, but for many different things. Even I sort of opened up...and started seeing in a much more wide perspective. But we are still experimenting, because it's been just 6 months... Somehow it is coming to some direction know. At the begin we didn't know how it would really work. ...an Art Center for the city. Like the word Rangoli for the logo. Rangoli is this ritual people do in front of their houses on the floor, but it is also this form of connecting points. That's the whole idea, the idea of a unique drawing, of a visual form with different dots that connect and make a new form. PW: Do you have a vision for the RMAC?

S: This should be a place full of different sorts of projects… so many things that give people the idea of an utopian art, a kind of art utopia in the space. Also with much less restrictions, with more freedom, giving only importance to the freedom of art expression.

Surekha is visual artist and has realized numerous projects for the public spaces. She curates the Rangoli Metro Art Centre since it was made available for the public in May 2013.

Published in Stadtkunst Kunststadt

Belgrade - The Toolkit Project Exchange with Berlin- Citizen Art Days

Marjetica Potrč — 2013-07-29T21:23:45Z

Students of Design for the Living World, HFBK Hamburg with Marjetica Potrč and participants of The Citizen Art Days discuss participatory practices and exchange of knowledge with residents on two locations, in Belgrade and in Berlin.

The Toolkit, Foto: Till Richter

The Toolkit, Foto: Till Richter

Design for the Living World is a class on participatory practice by Marjetica Potrč at Hochschule für bildende Künste HFBK in Hamburg. From September 15 - November 18 2013 Design for the Living World engage with The Toolkit Project in Savamala district of Belgrade. Students work with residents to acquire a particular craft and learn about the social and economic systems that support it. The Toolkit Project is part of Belgrade Urban Incubator and it is supported by the Goethe Institute Belgrade, the City of Belgrade and the Municipality of Savski Venac and HFBK Hamburg.

Students of Design for the Living World, HFBK Hamburg in St.Lambrecht, Foto: Pater Gerwig

Students of Design for the Living World,
HFBK Hamburg in St.Lambrecht, 2011
Foto: Pater Gerwig

[(The Citizen Art Days 2013 will take place from September, 27th to October, 6th 2013. Please note that the program is not yet finally fixed. Exact dates for the various events will be announced.)]