May 29, 2018 - Gropius Bau - Welt ohne Aussen. Immersive Spaces since the 1960s
May 29, 2018

Gropius Bau

Larry Bell, 6 x 8: An Improvisation, 1994. © Larry Bell. © White Cube and Ben Westoby.

Welt ohne Aussen. Immersive Spaces since the 1960s
Exhibition, live works, workshops
June 8–August 5, 2018

Opening day: June 8, 10am–7pm

Gropius Bau
Niederkirchnerstraße 7
10963 Berlin
Germany

T +49 30 25486124
presse@gropiusbau.de

www.berlinerfestspiele.de
Facebook / Instagram / Twitter / #immersion / #weltohneaussen

With Larry Bell, Cibelle Cavalli Bastos, Renée Coulombe, Lou Drago, Fernanda Farah, Lucio Fontana & Nanda Vigo, Ed Fornieles & Penny Rafferty, Peter Frost and the group Le Frau, Cyprien Gaillard, Dorota Gawęda & Eglė Kulbokaitė (Young Girl Reading Group), Wolfgang Georgsdorf, Dominique Gonzalez-Foerster, Stefanie Görisch, Jeppe Hein, Hidden Agency / ∞OS and guests, Carsten Höller, Ana Jordão, Justin Kennedy, Lea Kieffer with Angela Schubot & Rocio Marano, Dambi Kim, Isabel Lewis, Ángela Muñoz Martínez, Nonny de la Peña, Susan Ploetz, Thomas Proksch, Tabita Rezaire, Xavier Le Roy, Maria Francesca Scaroni & Mieko Suzuki, Scent Club Berlin, Tino Sehgal, Colin Self, Claire Vivianne Sobottke, Jessy Tuddenham, two-women-machine-show, Doug Wheeler a.o.

Workshop and events programme

Maria Francesca Scaroni & Mieko Suzuki: June 7–18 
Josh Johnson: June 8-10
Thomas Proksch: Lego: June 20–25 
Claire Vivianne Sobottke: Strange Songs: June 27–July 2 
Ana Jordao: I am knot: July 4–9 
Isabel Lewis: Distention in Several Directions: a week of ambient dances: July 11–16 
two-women-machine-show: TRANS-: July 18–23 
Peter Frost und die Gruppe Le Frau: July 25–August 1 
Xavier Le Roy: Le Sacre du Printemps: August 2–5 

The exhibition Welt ohne Außen features art works spanning from the late '60s to the present day, together with live works and workshops. For the first time, Gropius Bau is issuing passes that will give permanent access to the exhibition and all its activities, inviting visitors to explore all facets of the show and to actively participate in the daily workshop programme.

Curated by Thomas Oberender and Tino Sehgal, the exhibition traces a development from the pioneers of immersive installations to contemporary artistic practices, bringing together a wide range of art forms and disciplines. Featuring installations, virtual reality, 3D-film, a smell organ, as well as live works and workshops, the exhibition develops a unique dramaturgy that allows visitors to enter into these immersive spaces, with each work unfolding within its own temporality.

These situations—requiring a process of arrival, immersion and emergence—are created within a format that, since its advent, has usually operated with an almost opposed modality: the exhibition. This ritual of Western modernism can be seen as an expression of a particular set of ideas about being in the world: a world that we, as human beings, confront in opposition, evaluating objects (including art objects) from a critical distance. Immersion, on the other hand, stimulates a direct and immediate experience. Entering and immersing oneself as a part of—and in relation to—an experience is prioritised over the evaluating observation. In this sense, immersive practises are an expression of a changing relationship with the world, one that is based not on a dualism between subject and object, but rather on the entanglement of situation and experience.

The exhibition opens with a series of historical works from the late 1960s, with early works by Larry Bell and Doug Wheeler contrasted with an Environment by Lucio Fontana and Nanda Vigo. From here, the arc spans from more recent works like Carsten Höller’s Light Wall and Dominique Gonzalez-Foerster’s Cosmodrome to Cyprien Gaillard’s Nightlife. Gaillard’s hypnotic 3D-film marks the threshold of the transition from analogue to virtual spaces, on the other side of which VR-pioneer Nonny de la Peña makes social realities tangible with the aid of virtual worlds. Beside the multi-layered scent-compositions of Wolfgang Georgsdorf, there will be weekly rotating live works in the Schliemann-Saal and a series of workshops co-curated by artist Isabel Lewis, exploring the elements that define Welt ohne Außen as a format between exhibition and live experience, between tangible works and social process, between art and non-art.

Bringing together a broad range of approaches to embodied practice from different practitioners, the workshops focus on "feeling" as a bodily occurrence rather than "thought" as a distancing intellectual process. The workshops span three connected rooms where visitors are invited to move through stages of deepening participation from "hospitality and orientation" to "guided bodily practice and full-bodied engagement" and eventually "self-orientation, experimentation and play." The workshops present an opportunity to get involved in a variety of practices that aren’t necessarily artistic in nature but require dedication, commitment and engagement. They focus on locating practitioners in the world, rather than outside of it. Participation is open to all and walk-ins are encouraged. 

A permanent ticket allows multiple visits and participation in all workshops and live-works throughout the entire duration of the exhibition.

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