Ludwig Engel works as a futurist and urbanist on questions dealing with long-term strategy, the future city and urban utopias. He studied economics, communication sciences, and cultural history in Berlin, Frankfurt/Oder and Shanghai. He worked for the Daimler AG think tank for future studies and strategic long-term planning before starting his own practice. After various teaching assignments in the fields of strategic foresight, futurology, urban planning and urban futures, he currently teaches Strategic Foresight and Futurology at University of Fine Arts Berlin and the Architecture Design Innovation Program at Technical University Berlin. Together with Matthias Böttger and Stefan Carsten he recently published „Speculations Transformations – Thoughts on the Future of Germany’s Cities and Regions“ (Lars Müller Publishers, 2016) and curated the exhibitions „Haus-Rucker-Co – Architectural Utopia reloaded“ (2015) and „J.Mayer.H – Strukturalien“ (2016) at Haus am Waldsee that deal with historical and contemporary approaches to rethink lived-in environments.
Johanna Meyer-Grohbrügge is an architect from Germany who lives and works in Berlin. After graduating from the ETH Zürich she worked for SANAA in Tokyo for five years. In 2010 she founded together with Sam Chermayeff the office June14 Meyer-Grohbrügge & Chermayeff . Since 2015 she also works on projects under her own name. Johanna is a guest professor at DIA Dessau. She also taught at Columbia GSAPP, the Northeastern Univerisity Boston and the Washington University St. Louis.
An Laphan (b. 1990 in Landshut) is a German moving-image artist and assemblagist of Vietnamese heritage, working between Munich and Karlsruhe.
He studies New Media Art at the Academy of Fine Arts in Munich since 2010 under Prof. Klaus vom Bruch, where he became master-class student (Meisterschüler) in 2016. Furthermore, he is participant of the project class Prof. Julian Rosefeldt.
In 2014, he received the scholarship for the exchange program of the Karlsruhe University of Art and Design by the Ministry of Education and Cultural Affairs Baden-Württemberg. In his time there, he was trained in Video Art under Prof. Isaac Julien and Film Studies and Screenwriting under Prof. Razvan Radulescu.
The areas of interest in his artworks include image fetishism, the dissection of ritualism and the examination of the artifact, although his main focus lies in the representation of thresholds: in-between states, the notional void between two nameable things, the doorstep between map and territory.
His works often include the cartography of a body (actual or metaphorical) as means of naming the present condition to put it into perspective of developmental and decay processes.
June 14 Meyer-Grohbrügge & Chermayeff
June14 Meyer-Grohbrügge & Chermayeff is a collaborative practice by Johanna Meyer-Grohbrügge from Germany and Sam Chermayeff from New York. The two met at SANAA in Tokyo where they worked from 2005 to 2010. The studio aims to have people relate to architecture, for architecture to relate to people and for people to relate to themselves. June14 searches for an understanding of different ways of living and working in the contemporary world. On a practical level the principals have experience with a wide range of projects from small gardens and bespoke furniture to office towers. The office is based in Berlin and New York.
Gonzalez Haase AAS
Founded by Pierre Jorge Gonzalez and Judith Haase in 1999, Gonzalez Haase AAS is a Berlin-based studio with principal practices in architecture, scenography and lighting. Early work with Richard Gluckman and Robert Wilson for the Watermill Center in New York became the first of many highly regarded projects with contemporary artists, curators and collectors. Keeping the interplay between light and architecture at the forefront of their designs, AAS have gained a noted reputation for their spatial concepts. Their work includes major artwork installations, luxury retail interiors, residential extensions and conversions for industrial and art-related spaces.
Gustav Düsing (born 1984, Münster, Germany) studied architecture at the Architectural Association in London and works as an architect in Berlin. He developed a diverse portfolio of work, ranging from small-scale institutional buildings to large infrastructural concepts and architectural installations. In 2015 he co-founded Gustav Düsing & Max Hacke as a collaborative studio and in 2017 he was invited to join the first ever Antarctic Biennale. He is assistant professor in architecture at the Technical University Braunschweig and at UDK Berlin. In 2016 he was a unit master at the Architectural Association Visiting School Melbourne.
Pierre Huyghe (born 1962, Paris, France) studied in Paris at the École Nationale Supérieure des Arts Décoratifs. In his artistic work, Huyghe pushes the boundaries of the imaginary. He creates situations, in which presentation and experience presuppose each other. Huyghe’s artistic output does not focus on a specific medium but spans film, sculpture, architecture, opera and ecosystems.
Nadim Samman is a curator and art historian. He is a founder and Co-Curator of 1st Antarctic Biennale (March 2017), and The Antarctic Pavilion (Venice Biennale of Architecture, 2014; Art, 2015, 2017). He is currently Co-Director of Import Projects, Berlin. Nadim read Philosophy at University College London before receiving his PhD from the Courtauld Institute of Art. In 2012 he co-curated the 4th Marrakech Biennale. Recent projects include Treasure of Lima: A Buried Exhibition (a unique site-specific exhibition on the remote Pacific island of Isla del Coco) and Rare Earth (a major group exhibition at Thyssen-Bornemisza Art Contemporary, Vienna). In 2016 he was Curator and Artistic Director of the 5th Moscow International Biennial for Young Art.
Shawn Maximo is an artist and architect working in sculpture, digital media, and design. He received his Bachelor’s degree in Applied Science from the University of British Columbia, and received a dual Master’s degree in Architecture and Engineering from Princeton University. His work has been featured in The New York Times, Zeit Magazin, PIN–UP and Interview magazines, and has been exhibited at the Vitra Design Museum, Swiss Institute, Kunsthalle Wien, Musée d’Art Moderne de la Ville de Paris, Perez Art Museum Miami, and the 9th Berlin Biennale in 2016.
Felix Burrichter is a German-born creative director, curator, writer, and editor based in New York. Originally trained as an architect in Paris and New York, in 2006 Felix founded the architecture and design magazine PIN–UP. In addition to publishing PIN–UP, Burrichter curates exhibitions (Haus der Kunst, Munich; The Swiss Institute, New York), edits design books, and consults on architecture, design, and publishing projects for various artists and design brands.
Born in Warsaw and based in New York City, Elka Krajewska is the president and founder of Salvage Art Institute. She is an artist who works with film, sculpture, music and mixed media. Often based on collaboration Krajewska’s work utilizes elements of her biography as well as contemporary, interdisciplinary and art historical strategies.
Mark Wasiuta is a curator, writer and architect who teaches at GSAPP Columbia University where he is Co-Director of the degree program Critical, Curatorial and Conceptual Practices in Architecture. Over the last decade he has developed a body of research and archival exhibitions that focus on under-examined projects and practices of the postwar period. Through the multi-year research venture Collecting Architecture Territories, and through collaborative projects such as No Longer Art, his work also examines critical intersections between art and architecture.
Something Fantastic is a design practice founded by three architects, Leonard Streich, Julian Schubert and Elena Schütz. The firm’s agenda is based on the idea that architecture is affected by everything and vice versa –does affect everything– and therefore working as architects implies a broad interest and involvement in the world. The studio operates in the extended field of the discipline, aiming to make a difference through smart, touching, simple, prototypical projects.
Their works include pilot projects for communal housing in Flanders, the Book “Something Fantastic”, as of 2015 the visual identity of Artek, the fashion shows of Perret Schaad, the pendent lamp “Crystal” designed for New Tendency, the design of the German Pavilion at the 15th La Biennale di Venezia, and the art direction for the books of Ruby Press including designs for, amongst others, 51N4E, Lacaton & Vassal and Pier Vittorio Aureli.
Since 2013 the partners Schütz, Schubert and Streich teach the Master of Advanced Studies in Urban Design at the chair of Marc Angélil at ETH Zurich with a focus on rapidly developing urban contexts. Other research and educational projects include collaborations with Harvard University and Yokohama GSA. They lecture and are invited as guest critics regularly.
Something Fantastic’s work has been part of Architectural Biennales in Sao Paulo, Venice and Shenzhen as well as exhibitions in museums as the Museo de Arte do Rio (MAR) and the Museum of Modern Art (MoMA). They have been nominated for the Iakov Chernikov Prize and awarded work includes the designs of “Reasons for Walling a House”, “Building Brazil” and “City of God”. Forthcoming publications in 2017 include “Cairo Desert Cities”.
Hannes Grassegger (*1980) is an economist and reporter. He writes about how the digital transformation changes the way we live. He is known for his groundbreaking investigations on Cambridge Analytica and – more recently – the secret Facebook censorship rules for „content moderation“. More secretly, Hannes has collaborated with artists, architects and designers such as Metahaven, Holly Herndon, Something Fantastic and Stefan Burger. In 2014 he published the treaty “Das Kapital bin Ich” (I am Capital), demanding property rights for personal data. His work has been translated into Thai, Albanian and Persian and published via Pro Publica, Süddeutsche Zeitung Magazine, Internazionale, VICE, Die ZEIT, Revue XXI and others.
Annett Zinsmeister studied art, architecture, cultural studies and media studies. In 2003, she was appointed professor for art, design, conceptual design and interdisciplinary theory. Her work has garnered her awards and prizes and has been published in numerous magazines, trade journals, catalogs, and books. It can be seen in group and individual exhibitions worldwide and is represented in public and private collections such as the art collection of the German Bundestag in Berlin and MoMA – Museum of Modern Art in New York. Intersections between art and architecture, utopias and transformations of space and everyday objects are the central themes that Zinsmeister renegotiates in her artistic work. Within the form of installations, photographs, drawings, collages, film and texts, the artist opens up new perspectives and unexpected potentials in relation to inhospitable and abandoned places while initiating urban interventions and transformations.
The Viennese curatorial collective section.a laid the foundation for the content of BNKR’s programming for 2016 with their conception of its inaugural, multi-part exhibition “Im Raum mit_”. They were also invited to curate the exhibition “Urban Shelter?” by Annett Zinsmeister. Katharina Boesch, Christine Main-Stummer, Andreas Krištof and Viktoria Pontoni – the core team of section.a – have been working at the intersection of economics, art and design since 2001. They have conceived and realized exhibitions, art projects in public space, museum concepts, imagery and publications for businesses as well as for art and science institutions such as the Venice Biennale; arlberg1800 Kunsthalle; Austrian Cultural Forum London; Museum Ludwig, Cologne; the MAK Vienna and the PinchukArtCentre in Kiev.
Peter Fattinger / Veronika Orso
Peter Fattinger and Veronika Orso’s office for planning and production works at the intersection of architecture, art and design. Their work ranges from experimental installations to microarchitecture and urban interventions. Focus lies on the implementation of temporary architectural experiments that function as usable sculptures and social interfaces in public space. The transitory nature of the projects provides the necessary mental and physical space to explore and facilitate new spatial ideas and approaches.
Julia Willms (DE/NL) studied Visual Communications at the Academy of Fine Arts in Maastricht (The Netherlands) and Media Art at the University for Applied Arts in Vienna (Austria). Her work deals with the nature of perception, the very act of viewing itself and the shifting position of the spectator within the proposed environment. It takes form of video installations (often site specific) for the borderlines of spaces and architectual environments, performances, photo collages as well as installations and drawings.
Her works have been shown in solo and group exhibitions (GAM | Obrist Gallery/Essen, MUSA/Vienna, De Appel/Amsterdam, BNKR/Munich, Altana Kulturstiftung/Bad Homburg, a.o.), as well as in media & video art and performance festivals internationally (EMAF/Osnabrück, Almost Cinema/International Filmfestival Ghent, Netaudio London a.o.).
Since 2003 she has collaborated closely with choreographer/director Andrea Božić on in-disciplinary performance projects and installations. In 2009 she co-founded in-disciplinary platform TILT with Andrea Božić, and sound artist Robert Pravda.
Julia is one of the co-founders of BAU – space for performing arts Amsterdam and is mentor at the Amsterdam Master of Film and the HKU Master of Scenography in Utrecht. Julia has given workshops internationally (Royal Academy of Art The Hague, ICK, Interrarium – The Banff Arts Centre, a.o.). In 2016/2017, Andrea’s and Julia’s research for Spectra is supported by DAS Research, Amsterdam.
Full CV of Julia Willms: willmsworks.net/en/cv
Constantin Luser’s artistic work is based on a constant process surrounding perception and the structuring of realities. The basis of his vocabulary is drawing as a translation of his thoughts into space. Constantly capturing these ideas in journals, the artist composes technically complex snapshots of moments parsed from them, crafting three-dimensional thought systems from various forms, symbols, and abstract or figurative lines. Formulated as drawings, sculpture, installation, sound objects, performance or film, they enable direct audience immersion into the ideas of the artist, providing visual, audible and/or haptic experiences.
The point of departure for Peter Kogler’s artistic work from the late 1970s was his exploration of performance art, conceptualism and film architecture. Negotiating the relationship between surface, space and architecture, gridded structures and the use of simple motifs like that of the tube are amongst the basic vocabulary of his concepts up to now. They stand for the dynamics within flows of information, for the position of the individual in relation to society within a universal, timeless, yet fragmented and modular system of signs. In his image production, the media artist uses state-of-the-art technologies to create timely and contemporaneously specific surfaces. Formally, they correspond to the images he constructs, working at the beginning of the 80s with the first mouse-controlled computer with only a primitive black-and-white display, utilizing screen-printing as a method for color reproduction, and from the year 2000 working with synchronized multichannel 360-degree projections or digital prints on adhesive foils.
Christian Falsnaes’ works are based on the interaction between audience and artist. He finds particular interest in the context of the creation of work, with its rituals, dynamics and behaviors becoming operative in highly codified, social fields such as that of the art world. As a primary component of his work, revolving around the themes of identity, authority and submission, Falsnaes often involves visitors in extemporaneous performances conceived around participation, documenting these on video and afterwards compiling selected sequences to display within the exhibition space. In doing so, he motivates people to do things that they would not otherwise do: dance together, play music, paint, carry the artist on their hands, kiss, spray paint walls or work with power saws. What is characteristic of his actions is the unforeseeable and the uncontrollable, as well as the revelatory acknowledgement of how easy it is to excite people and manipulate them. He neither works with professional actors nor with an exact script, but leaves the audience to decide how it executes or defies his instructions.
William Forsythe is one of the world’s leading choreographers. His works are known for having reoriented the practice of ballet from its identification with classical repertoire to transform it into a dynamic 21st century art form. Forsythes’ far-reaching interest in the fundamental principles of organization has led him to realize a wide spectrum of projects in the fields of installation, film and internet-based knowledge production. Forsythe grew up in New York and began his education with Nolan Dingman and Christa Long in Florida. He danced with the Joffrey Ballet and later with the Stuttgarter Ballett, where he became Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt, Paris, New York and San Francisco. In 1984, he began his 20-year engagement as director of the Ballett Frankfurt, creating works including “Artifact” (1984), “Impressing the Czar” (1988), “Kammer/Kammer” (2000) and “Decreation” (2003). After the dissolution of the company in 2004, Forsythe formed a new, independent ensemble: The Forsythe Company, with fixed venues in Dresden and Frankfurt while also performing internationally, creating works such as “Three Atmospheric Studies” (2005), “Sider” (2011) and “Yes we can’t” (2008/2010). Forsythe’s’ latest works are exclusively developed and performed by this company, while earlier works are in the repertoire of ballet ensembles worldwide.
Awards received by Forsythe and his ensembles include the New York Dance and Performance „Bessie“ Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). In 1999, Forsythe was appointed Commandeur des Arts et Lettres by the French government. Additionally, he has received the Bundesverdienstkreuz (German Distinguished Service Cross) (1997), the Wexner Prize (2002), the Golden Lion (2010) and the Samuel H Scripps / American Dance Festival Award for Lifetime Achievement (2012). He has been commissioned to develop architecture/performance installations for the architect/artist Daniel Libeskind (Groningen, 1989), ARTANGEL (London, 1997), Creative Time (New York, 2005) and the SKD – Staatliche Kunstsammlungen Dresden (2013, 2014). His performance, film and installation works have been shown in numerous museums and exhibitions, including the Whitney Biennial (New York, 1997), Festival d’Avignon (2005, 2011), Louvre Museum (2006), Pinakothek der Moderne (Munich, 2006), 21_21 Design Sight (Tokyo, 2007), Wexner Center for the Arts (Columbus, 2009), Tate Modern (London, 2009), MoMA (New York, 2010), ICA Boston (2011), and the Venice Biennale (2005, 2009, 2012, 2014). Forsythe is regularly invited to hold lectures and conduct workshops at universities and cultural institutions. In 2002, he was a founding Dance Mentor for the Rolex Mentor and Protégé Arts Initiative. He is an Honorary Fellow at the Laban Center for Movement and Dance in London and holds an Honorary Doctorate from the Juilliard School in New York. Forsythe was an A.D. White Professor-at-Large at Cornell University (2009-2015) and since 2015 is a Professor of Dance and Artistic Advisor for the Choreographic Institute at the University of Southern California Glorya Kaufman School of Dance. Since autumn 2015, he has also been an advisory choreographer of the Ballet de l’Opéra de Paris.
Kaufmann & Gehring
The Swiss filmmaker duo Tobias Kaufmann and Dominik Gehring began to collaborate during their studies in the Department of Video at the Hochschule für Gestaltung und Kunst in Lucerne (HSLU). In their artistic practice, Kaufmann & Gehring are seeking out footage, symbols, images and depictions that function on a deeper level of perception. They assemble their observations into essayistic, subtly poetic images with sensitivity and virtuosity. Films, installations, stills and sound worlds emerge that offer the viewer an expanded concept of reality in a multi-layered way. Their video work has been presented in exhibitions and screenings at various institutions including: Museum Centro Nacional de Arte Reina Sofia, Madrid; The Gallery of the Slovak Union of Visual Arts; Vision du Réel Nyon; Image de Movement, Geneva; Le festival d`arts visuels Images, Vevey; Kirchner Museum, Davos; O.T. Raum für aktuelle Kunst, Lucerne; Stiftung Brasilea, Basel; Kornhausforum, Bern; Kunstpanorama, Lucerne; Zurich Film Festival; Kurzfilmtage Winterthur; Shnit International Shortfilmfestival; Video Ex, Zürich; Chäslager, Stans; Turmmuseum Schwyz; Riff Raff, Zürich; Burbaki Kino, Lucerne; Kino Kunstmuseum, Bern; UG Theater, Lucerne; and National Arthouse Movie Theaters. In 2005, they received a grant in connection with “Mind Migration 05” at the Slovak Union of Visual Art in Bratislava, and in 2012, the Atelier New York grant from the Canton of Zug.
Quinn Latimer is an American poet and writer, critic and editor. Born in Venice, California, she currently lives and works in Basel and Athens. She is the author of “Rumored Animals” (2012), which was awarded the American Poetry Journal Book Prize, and the monograph “Sarah Lucas: Describe This Distance” (2013), which explores the work of Lucas alongside themes of shame, palindromes, passivity, fertility statues, Napoleon, Artaud, Beckett, and Sontag. Latimer regularly writes articles for Artforum and is a contributing editor for Frieze. Her texts also appear in a number of artist’s books and critical anthologies. Her writing, lecture performances and video collaborations have been presented in a number of international institutions including the Serpentine Gallery, London; Chisenhale Gallery, London; Kunsthalle Zurich; Astrup Fearnley Museet, Oslo; Qalandia International, Ramallah / Jerusalem and in the German Pavilion at the Venice Biennale of Architecture, Italy as part of Bungalow Germania. Additionally, she also works as a curator of text-based presentations, recently for the exhibition “read the room / you’ve got to” (2014) in connection with The Printed Room at SALTS in Basel. Quinn Latimer is currently Editor-in-Chief of Publications for documenta 14 and teaches at the Haute école d’art et de design in Geneva (HEAD-Genève).
As a photographer and filmmaker, Armin Linke combines a range of contemporary image- processing technologies, blurring or making invisible the boundaries between fiction and truth. His artistic practice explores various ways of dealing with photographic archives and their manifestations, as well as the connections and transformative powers between urban, architectural or spatial functions and those who interact with these environments. In working with his own archive as well as with other historical archives, Linke challenges the conventions of photography, whereby questions of how photography is installed and displayed hold great importance. When the artist assumes the role of an exhibition maker, working collectively with other artists, designers, architects, historians and curators, narratives are procured on the level of multiple discourses. He has been a research affiliate at MIT’s Visual Arts Program in Cambridge, a guest professor in the department of Art and Design of the University IUAV di Venezia, and is currently a professor at HfG Karlsruhe. His works have been exhibited in solo exhibitions at MAXXI, Rome (2010); Museum für Gegenwartskunst Siegen (2009); and in group exhibitions at the Haus der Kulturen der Welt, Berlin (2013-ongoing); Moscow Biennial of Contemporary Art + Haus der Kunst, Munich (2011); Tate Modern, London + International Architecture Biennale Rotterdam (2010); and the Bienal de São Paulo (2008). He has been awarded prizes at the 9th Venice Biennale of Architecture and the Graz Architecture Film Festival.
Bas Princen lives and works as an artist and photographer in Rotterdam and Singapore. After his training as an Industrial Designer at the Design Academy Eindhoven, he studied architecture at the Berlage Institute in Rotterdam. Since then, his work has focused on the urban landscape in transformation through the lens of photography, researching different forms, results, effects and imaginary worlds in a constantly changing urban space. His work has recently been presented in the following exhibitions: “Constructing Worlds” at the Barbican Art Gallery, London 2014; “Room of Peace” in the Arsenale exhibition “Monditalia”, at the 14th Venice Biennale of Architecture, 2014; “Reservoir”, deSingel, Antwerp 2011; “Five Cities”, Depo, Istanbul 2010; “Refuge”, Storefront for Art and Architecture NY, 2010; “Invisible frontier”, AUT, Innsbruck 2008; “Nature as Artifice”, Kroller Muller Museum, Otterloo 2009; Aperture Foundation, New York 2009; “Spectacular City”, Nai, Rotterdam, 2006; as well as at the Venice Biennial of Architecture in the years 2004, 2006, 2010 and 2012. In May 2004, his first book “Artificial Arcadia” was published with 010 Publishers; other monographs include “Rotterdam” by Witte de With Publishers 2007; “Galleria Naturale” for Linea di Confine, Rubierra 2008, “Five Cities Portfolio” by SUN Publishers 2009, and “Reservoir” by Hatje Cantz 2011. In 2004, Princen won the “Charlotte Kohler Prize for promising young artists and architects in the Netherlands”, and he was awarded the Silver Lion at the Venice Biennial of Architecture in 2010 for his collaborative work with Office Kersten Geers David van Severen.
CiriacidisLehnerer is a Zurich-based architectural firm headed by Savvas Ciriacidis and Alex Lehnerer. Within their projects they are concerned with examining architecture as a cultural practice. In addition to their building projects and urban planning, they both teach and research at ETH Zurich and the Hochschule Luzern. This combination of architectural practice, research and teaching is a core part of their internationally published and awarded work. Lehnerer, born 1974 in Erlangen, has since 2012 been assistant professor for Architecture and Urban Design in the Department of Architecture at ETH Zurich, from 2012 to 2014 conducting research along with his team in Singapore and Southeast Asia. From 2008 to 2012, he taught at the University of Illinois in Chicago. Lehnerer received his doctorate from the ETH Zurich and is also a graduate from the University of California in Los Angeles (UCLA). Savvas Ciriacidis, born 1975 in Stuttgart, has been practicing architecture in Zurich since finishing his studies at ETH. From 2006 to 2013, he was a researcher and lecturer in architecture and design under Professor Christian Kerez at ETH Zurich. Lehnerer and Ciriacidis were the General Commissioners of BUNGALOW GERMANIA, the German contribution to the 14th Venice Biennale of Architecture 2014, which they curated together with the art historian Sandra Oehy (Project Lead & Managing Curator of BUNGALOW GERMANIA).
Alexander Ernst Voigt
Cerith Wyn Evans