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Ene 6, Pansexual Dating reviews. The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history.
Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. A wild, colourful pictorial history of architecture begins to the rhythm of the music.
In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox.
How to find us. The visit of the JSC Düsseldorf is only possible for adults and children from 6 years with an own mouth and nose protection everyday mask.
Please visit the JSC Düsseldorf only in the company of individuals with whom contact is permissible according to current government regulations.
Actual information on the measures currently in force in the State of North Rhine-Westphalia is available at www.
Please keep a distance of at least 1. Groups of people less than 1. Admission to the exhibitions at JSC Düsseldorf is free of charge.
Advance registration for the visit during the opening hours is not required. However, for insurance reasons, we request that you register with your name at JSC Düsseldorf reception desk upon arrival.
Public guided tours in German and any other events cannot be offered at JSC Düsseldorf in the foreseeable future due to current circumstances.
You can also find our offers on Musenkuss , the platform for cultural education in Düsseldorf. Special guided tours in english and any other events cannot be offered at JSC Düsseldorf in the foreseeable future due to current circumstances.
The JSC Düsseldorf is accessible for those with wheelchairs or prams. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.
The distinctive nature of the collection carries over into the space in which it is exhibited.
Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light.
A media museum is no black box. On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality.
The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson.
The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building.
Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century.
Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes.
After the war it was used as a picture frame factory by the Düsseldorf company F. G Conzen. Renovation work in strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space.
The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows.
At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.
Kuehn Malvezzi, founded in Berlin in by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design.
The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice.
Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in As a monument to early modern industrial architecture, the JSC Düsseldorf offers a unique, historic architecture with an exclusive ambience.
Celebrate exclusively in the rooms of an internationally renowned art collection. In light of the circumstances revolving around the COVID virus and due to our responsibility for our visitors and our staff, JSC Berlin will be closed to the public from 15 March until further notice.
Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA.
Public guided tours in English through the current exhibitions on Saturdays, p. Registration online through our calendar. Free of charge for children and young people under eighteen, school pupils, students and trainees.
Cost: EUR Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers access only via the staircase; no lift.
In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof.
Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state.
Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.
These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work.
This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities.
The white curtain dims and softens the light without darkening the rooms. Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element.
The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use.
The Berlin architecture office Meyer-Grohbrügge searches for simple spatial answers to complex questions. In dialogue with its clients, it strives to develop new convictions.
With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities.
Over the next months, videos and films will be continually uploaded and made accessible online. They are accompanied by explanatory texts about the works.
The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times.
The term time-based art or time-based media describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art.
These works are often allographic, meaning they are only visible when installed or projected. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.
The first large-scale group exhibition at the collection, Number One: Destroy, She Said —08 , was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction.
Number Two: Fragile —09 focused on the body and corporality, bringing together video, performance, and body art. Number Three: Here and Now —10 was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long.
Almost ten years later, Number Thirteen: Hello Boys —16 revisited performance and feminist video, questioning the representation of female identity and the performance document.
The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next.
The inaugural exhibition in Berlin, Welt am Draht , addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization.
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