Swallowing Berlin's Past and Present: Schwarzenberg and DEAD CHICKENS
The 4th Berlin art space is Schwarzenberg. This graffiti-ridden, dirty building is in the oh-so-fashionable Mitte (central) district. Apparently this area was full of ruins immediately after the fall of the Berlin wall, but in 10 years, it has metamorphosed into a fashionable district with galleries and small boutiques. In other words, Mitte has become quite a boring place as a result of this.
However, Schwarzenberg art space is the only thing that remains in the snobby new Mitte, and symbolizes the hope of young artists. Once you step foot in the property, I feel like I've traveled through time and space from the present Mitte, and slipped into the "real" Mitte, probably because of the walls that surround the building. This area was originally a Jewish district. The former hideout for Jews during the war has now become a place that harbors the future of young, unknown artists in the center of Berlin.
Schwarzenberg was established by DEAD CHICKENS, the most rock "n" roll artist I've ever met. The Chickens and their work are characterized by red-hot passion. This passionate soul also resides in this building, among which their work is displayed throughout.
Next session, we'll be introducing the symbols of Berlin, Dead Chickens, and their atelier, so look out!
* I have written about the Chickens in a report last year.
→ARS ELECTRONICA & Berlin 2006 Report
In Kamakura
Mr. Kuwakubo introduced us to the first female guest in a long while - video editor Atsuko Uda. Although I had met her once through work, it was almost like we were meeting for the first time. We recorded the interview in Kamakura, where Ms. Uda resides, but my Powerbook went into sleep mode after 10 minutes! (maybe it was too cold?). This was at a Starbucks in front of the Kamakura City Council, and we had to walk around for another caf - that would lend us a wall socket. Ms. Uda, thank you for putting up with all this.
I remember experiencing Ms. Uda's "Hands-on Movie". The system doesn't involve any automatic interactive interventions, and yet touching the screen and seeing the picture change after a while, I found myself wondering whether it's a pre-conceived image. I felt a little confused, but this confusion synchronized with the static that ran through my fingers as I touched the panel, leaving me with a fresh impression of the work. Also, I'm very fond of Ms. Uda’s voice.
