Agonisms in the Park
28.06.2007 by John Hawke posted in uio artworks | no comments

—researches and spatial probes—-

as metaphor: The small aggressive dog (drug dealers inhabiting the park) The running moose (civil police and their startled response) = monument to tactical spatial victory of black economy.

The small aggressive dog (the norwegian state—freed from foreign domination) The running moose (foreigners—here, the impoverished third world that must be run off ) =monument to Norwegian vigilance; an inspirational goal.

as lived space—a preferred site for beer drinking due to protection afforded by sculpture—sculpture detourned to abet illegal uses.

the site Bordered by Securitas (private security firm) Oslo Corporate Headquarters, Oslo Department of Urban Planning.

intervention log: couch removed from dumpster, carried to site cone and sign removed from site of nearby minor road accident warning tape found as trash at various construction sites

-dialectical forces of Permission and Maintenance Law, code, permeability within the state apparatus (permission) versus site presence unfolding in time (maintenance). The static, binary gesture of permission versus the continuing insistence of maintenance.

A minimal intervention in Oslo
24.06.2007 von Urban Interface Berlin in urban interface oslo | Keine Kommentare

We wonder, wether this monument praises the moose or the moose hunting dog…and who put the couch and the barrier in front of it……


A minimal intervention in Oslo
24.06.2007 by Urban Interface Oslo posted in uio artworks | no comments

We wonder, wether this monument praises the moose or the moose hunting dog…and who put the couch and the barrier in front of it……


Production workshop for urban interface oslo
24.06.2007 by Urban Interface Oslo posted in Exhibition | no comments

At this very moment we are having a workshop on the production of urban interface which started on Thursday 21 and ends on Monday 25 June. During this workshop we work on the development of artworks and define needs and processes for production. Also artists look for suitable sites for their works during their stay.

The artists articipating in this UIO workshop are:
Michelle Teran from Canada, but based in Berlin. She is currently ‘scanning’ the city of Oslo for wireless transmitting surveilance cameras and has found aleady a couple of sites/surveillance camera images which she will use for her UIO project.

Vibeke Jensen from Norway, but based in New York. Besides discussing the production of her comparably laborious project, she found a very central site for her piece. Let’s keep fingers crossed that we will get the permission to use it.

John Hawke from New York and Sancho Silva from Portugal, but based in Kairo came to Oslo for a first site visit and in order to develop a piece within their Orange Works series for UIO. While we have still no clue if they have found a site and developed a concept for it (but we are all guessing that this is the case), we could already observe small interventions into public space across from the workshop venue.

Hans Christian Gilje is focussing now on 1-3 Soundpockets for UIO and found a number of sites where the sound interventions could be situated. Building the hardware seems to be the main challenge at this point.

HC Gilje, Susanne Jaschko, Atle Barcley

Siri Austeen, Sancho Silva, John Hawke, Vibeke Jensen

Michelle Teran


Rosinante, Camilla, Blitz und Beauty
20.06.2007 by Urban Interface Berlin posted in Other artworks we like | no comments

Wir beobachten momentan eine anonyme Aktion in Berlin: “Wiehernde Stuten erobern den Stadtraum und hinterlassen ihre Spuren. No Hoof – No Groove!” so die Erklärung…… Urban Interface meint dazu: Sehr gut, weiter so, Ihr Stuten!


Turning the place over
18.06.2007 by Urban Interface Berlin posted in Other artworks we like | no comments

Turning the Place Over is artist Richard Wilson’s most radical intervention into architecture to date, turning a building in Liverpool’s city centre literally inside out. One of Wilson’s very rare temporary works, Turning the Place Over colonises Cross Keys House, Moorfields, and will be launched in June 2007 and will run through until end of 2008.

Co-commissioned by the Liverpool Culture Company and Liverpool Biennial, co-funded by the Northwest Regional Development Agency and The Northern Way, and facilitated by Liverpool Vision, the project is a stunning trailblazer for Liverpool’s Year as European Capital of Culture 2008, and the jewel in the crown of the Culture Company’s public art programme.

Richard Wilson is one of Britain’s most renowned sculptors. He is internationally celebrated for his interventions in architectural space that draw heavily for their inspiration from the worlds of engineering and construction.

Turning the Place Over consists of an 8 metres diameter ovoid cut from the façade of a building in Liverpool city centre and made to oscillate in three dimensions. The revolving façade rests on a specially designed giant rotator, usually used in the shipping and nuclear industries, and acts as a huge opening and closing ‘window’, offering recurrent glimpses of the interior during its constant cycle during daylight hours.

The construction programme started in February 2007 and involves the careful deconstruction of the façade across three floors of the building, which is then reconstructed and fixed to the enormous pivot installed at the heart of the building. This astonishing feat of engineering will stun audiences on many levels. Disturbing and disorientating from a distance, from close-up passers-by have a thrilling experience as the building rotates above them.

See it rotating


Brian Massumi: Urban Appointment, A possible rendez-vous with the city
14.06.2007 by Urban Interface Berlin posted in Topic | no comments

Here is a really interesting essay by Brian Massumi about intervenionist art practises, in particular focussing on the HUMO project/workshop which he did together with Rafael Lozano-Hemmer. The essay provides a lot of good references to the project and related art strategies, and digs deep into history and theory. Read this!


Artikel ‘Kunst trifft Zukunft’ über ‘Exposure’
13.06.2007 by Urban Interface Berlin posted in uib artworks | no comments

Für die österreichische Fachzeitschrift Medianet berichtet Christine Lauber unter anderem über Jussi Angeslevas und Richard Thes Arbeit Exposure im Rahmen von urban interface berlin.

Hier gehts zum Artikel.


Bauhaus Weimar Art Interventions Präsentation und Diskussion auf der Biennale in Venedig
13.06.2007 by Urban Interface Berlin posted in Related events | no comments

Trotz Kunsttaumel, Hitze und visuellem Overkill hatten sich am 9. Juni im Deutschen Studienzentrum in Venedig doch einige Besucher eingefunden, die an der Präsentation und Diskussion Art Interventions as Urban Development Strategies interessiert waren.

Begonnen wurde mit einigen Projekten, die im Rahmen der IBA Stadtumbaus gerade realisiert wurden. Die erste Präsentation stellte die Drive Thru Gallery vor, die erste Galerie Deutschlands, die man künftig „en passant“ – also im Vorbeifahren erleben kann. Die Drive Thru Gallery bietet dazu unter anderem in leer stehenden Gebäuden des stark befahrenen Innenstadtrings Ascherslebens Werke verschiedener Art. Als erster Künstler hat der britische Maler Christopher Winter fünf großformatige Bilder, die derzeit im Original in New York zu sehen sind, ausstellen.

Ein weiteres IBA Projekt kultiviert die Leere auf einem öffentlichen, aber derzeit unbebauten Platz in Halberstadt.

Mehr zum Studiengang Kunst im öffentlichen Raum und neue künstlerische Strategien an der Bauhaus-Uni Weimar hier.


Article on Niklas Goldbach’ s work in UIB
13.06.2007 by Urban Interface Berlin posted in uib artworks | no comments

Janet Leyton-Grant writes about Refugia on Mediamatic.


New work conceived for urban interface oslo
1.06.2007 by Urban Interface Oslo posted in uio artworks | no comments

For urban interface oslo John Hawke (US) and Sancho Silva (PO) will conceive a new work in their collaborative series of Orange Works.

Orange Works is an ongoing collaboration project, started in 2004, to build unauthorized temporary urban constructions camouflaged as in-process construction sites in order to probe existing spatial pressures, and reorganize public spaces to allow for new social uses.

The emphasis of the project is more on the uses and reactions the different types of constructions trigger, within a specific social and spatial setting, than on the formal architectural features of the constructions themselves. In this sense, the constructions are never seen as the end result of the individual interventions, but rather as the triggering event of an indeterminately extended process that includes:

1. The documentation of the reactions of the local population to the constructions (use, appropriation, alteration, resistance, destruction);

2. The establishment of relationships between the artists and the local population as mediated by the constructions (explanations, interviews, discussions, disputations, collaborations);

3. Maintenance and/or alterations of the constructions as a reaction to points 1. and 2., aiming at the establishment of a feed-back loop between the artists and other agents that claim the site;

4. Research on the site’s situation within the surrounding urban context (i.e. historical background, zoning, actual and planned uses and constructions, economic value and speculation, exclusivity, social stratification, etc.)

Orange Works, Bus Stop, 2004

The interventions have lasted periods from two days to 10 weeks, depending upon the interaction between the structure’s degree of architectural integration into the environment, and the degree of spatial resistance enacted by authority actors (property owners, police etc.) with an interest in spatial control.

The intention is to make constructions too formally idiosyncratic to be easily digested into the strident visual noise of traffic and construction signage yet too ubiquitous in materials to allow immediate certainty as to the nature of the architectonic device. In this way, the temporary urban development construction provokes questioning as to the power dynamics of public space and the future of the built environment. The aim is that the public will question the constructions themselves, their intended function and who made them, triggering more participatory practices.

The interventions have made material connections between public and private spaces, created permeable private spaces within public spaces, or offered alternative forms of existing public functions, creating uncanny situations between recognition and confusion, and provoking diverse, long-term reactions from the public, varying from active questioning to consternation, wariness to laughter.

See the Orange Works blog.