Formwandeln
Shapeshifting
Anthony Antonellis places a series of two-dimensional and three-dimensional brightly colored geometric shapes around a heavily graffitied pedestrian tunnel in Erfurt at the corner of Stadtring. The shapes are perfect surfaces screaming to be tagged, marked, scratched or otherwise made imperfect. Like the songs of the Greek Sirens, or German Lorelei, the shapes should lure in taggers and capture their markings in order to become reabsorbed into their surroundings.
Formwandeln
Anthony Antonellis platziert zwei und dreidimensionale, geometrische Formen in reflektierender Leuchtfarbe gefärbt, im stark von Graffiti bedeckten Fussgängertunnel unter dem Erfurter Stadtring. Diese Objekte bieten eine perfekte Angriffsfläche für potenzielle Sprüher, um diese zu markieren, zu taggen, zu zerkratzen oder in einer anderen Form zu verändern. Wie der Gesang der griechischen Sirenen und der Lorelei locken die aufgestellten Flächen Sprayer an. Die Flächen und Objekte sollen die Graffiti einfangen und somit von ihrer Umgebung wieder aufgenommen werden und mit ihr verschmelzen.
Press
Kunst im öffentlichen Raum', Kunst & Kultur TV, Salve.TV, Thüringen, 27 July
#DFFF00: Skaters
I began a new project #DFFF00 as part of an ongoing series of work involving the destruction of the perfect square. In this process the destruction of an object is necessary for its completion; the ultimate purpose is to end, to have attained a purpose.
1000 highly adhesive neon stickers were produced. The neon yellow, hex code #DFFF00, carried over the visual language from earlier experiments in the series.
Visiting skate spots around Paris and the Bétonsalon, I placed the neon square stickers onto skateboards. The squares were perfect surfaces screaming to be marked, scratched or otherwise made imperfect while skateboarding. The stickers are destroyed as they become reabsorbed into their surroundings, approaching décollage.
Citymap
Plattenbau(haus)
Anthony Antonellis
Date: 27th – 31st January
Plattenbau(haus) is a site specific installation in the form of a painted construction billboard. It sits in a vacant lot advertising a forthcoming Plattenbau complex.
A city’s architecture can be used as a way to manage its identity, culture, and even memory. As a city grows it creates layers of architecture, some with competing narratives. In Weimar there are many periods of historical significance which are represented architecturally in their original forms or re-staged. Buildings deemed of no architectural or cultural significance are demolished or reworked to fit the desired narrative. As a result authentic-reproductions of 18th and 19th century buildings attempt to repair the narrative and effectively reset the city to an earlier time. There has been little or no attempt to reconcile the GDR era architecture into the narrative which has resulted in architectural pentimento.
The term pentimento is used in fine art to describe trace elements leftover from an alteration. In the same way that an under-drawing or original brush mark can reappear in an oil painting, the scars and remnants of past architecture appear throughout a city. This phenomenon is seen with the Plattenbau of Weimar West. They are regarded as a post-war GDR relic and have been effectively written out of the city’s desired touristic and cultural image. By contrast the 1920’s Bauhaus structure the Haus am Horn fits quite well within the narrative. It can be argued that this single building holds more significance in the narrative than the sum of all the GDR architecture.
Plattenbau(haus) depicts a Weimar West Plattenbau complex created entirely from repeating Haus am Horn units. In folding together these two structures its objective is to bridge the gap in the narrative and to highlight the process in which the city’s memory can be defined through the manipulation of architecture.
STADTPLAN / CITY MAP
For the introduction, several projects that took place at the Sarajevo Center of Contemporary Art (SCCA) will be presented. The Center has been exploring a new understanding of art through the development of various activities since it’s founding in 1996, directly after the end of the Bosnian War. Within this framework, Dakic herself, as well as other artists participating in the Center, produced works in the public realm that dealt with questions concerning cultural memory, such as the war and the end of socialism. A special focus was developed by the project “Deconstruction of Monuments”, organized in 2005 by the SCCA. The project researched memorials and the ideologies and structures of dominance expressed therein as well as forms for a “new memorial” on multiple levels. Dunja Blazevic, the director of the SCCA, will be invited to Weimar.
In addition, Danica Dakic will present additional projects in which she has been involved with questions of constructing identity and home (Heimat) in other locations.
This introduction forms the starting point for the students’ own reflection and artistic work on similar questions in relation to Weimar.
In close collaboration with the team of the MFA program, traces of forty years of a German Democratic Republic history are to be taken as an occasion to search for the visibility of this past in the city of Weimar in the through artistic interventions. (Due to the anniversary of the Bauhaus, placing a special focus on dealing with the different phases of its existence is conceivable.) With small temporary installations, interventions, performances or other artistic activities in hidden places in the city, the students will develop a city plan offering new artistic attractions.
For the conclusion of the semester a collective visit in Sarajevo is being considered, where together with the team of the SCCA, selected locations of artistic commemoration will be explored.
The participating artists are:
Johannes Abendroth (Germany), Alma Alloro (Israel), Anthony Antonellis (USA), Loukas Bartatilas (Greece), Grace Bayer Prince (Colombia), Juan Guillermo Caicedo Diaz Del Castillo (Colombia), Li-Shih Chen (Taiwan), Ben Craig (Ireland), Xing-Lang Guo (PR China), Sanela Jahic (Bosnia), David Knowles (USA), Jennis Li Cheng Tien (Singapur), Angeliki Makri (Greece), Natalia Matta-Landero (Chile), Kimberly Meenan (USA), Yvonne Morales-Traulsen (Mexico), Sofia Ntona (Greece), Thalia Raftopoulou (Greece), Carly Schmitt (USA), Rosa van Goudoever (Netherlands) and Eriphyli Veneri (Greece).
Sarajevo Winter Festival 2010
Promotion of the project “Citymap” Weimar Bauhaus University
February, 7th 2010, Fine Arts Gallery of B&H at 2:00 PM
21 Master of Fine Arts students from Bauhaus-University Weimar, dealing with the social upheavals after 1990;
Participants: Johannes Abendroth (Germany), Alma Alloro (Israel), Anthony Antonellis (USA), Loukas Bartatilas (Greece), Grace Bayer (Columbia) Juan Guillermo Caicedo D. (Columbia), Li-Shih Chen (Taiwan) Ben Craig (Ireland), Xinglang Guo (PR China), Sanela Jahić (B&H), David Knowles (USA), Jennis Li Cheng Tien (Singapur), Angeliki Makri (Greece), Natalia Matta-Landero (Chile), Kimberly Meenan (USA) Yvonne Morales Traulsen (Mexico), Sofia Ntona (Greece), Thalia Raftopoulou (Greece), Carly Schmitt (USA), Rosa van Goudoever (Holland) Eriphyli Veneri (Greece)
Together with the artist Danica Dakić, Guest Professor in the MFA program Public Art and New Artistic Strategies at Bauhaus-University Weimar and Assistant Professors Nadin Reschke and Lisa Glauer, traces remaining after forty years of GDR history were examined in the form of artistic interventions in the city of Weimar. Citymap develops a new reading of the city beyond that presented to tourists in the form of well known attractions: The students from 13 different countries show temporary installations, performances and other artistic activities, taking place at various, sometimes hidden locations, in the city of Weimar in January 2010.
In February these experiences will be carried to Sarajevo and presented to the public during Sarajevo Winter by using Charlama Depot Gallery as base for meetings and discussions, giving a presentation at the National Gallery and a talk on public art at SCCA.
In cooperation with: Sarajevo Winter, Charlama Depot Gallery, National Gallery of Bosnia and Herzegovina, SCCA
Citymap Workshop @ Charlama Depot
Press Release
Workshop “City Map” Weimar Bauhaus University
February, 5th 2010, Charlama Depot Skenderija at 11:00 AM
(5th to 8th February)
Supervisor of the project: Danica Dakić (B&H),
Assistants: Nadin Reschke and Lisa Glauer
21 Master of Fine Arts students from Bauhaus-University Weimar, dealing with the social upheavals after 1990
Participants: Johannes Abendroth (Germany), Alma Alloro (Israel), Anthony Antonellis (USA), Loukas Bartatilas (Greece), Grace Bayer (Columbia) Juan Guillermo Caicedo D. (Columbia), Li-Shih Chen (Taiwan) Ben Craig (Ireland), Xinglang Guo (PR China), Sanela Jahić (B&H), David Knowles (USA), Jennis Li Cheng Tien (Singapur), Angeliki Makri (Greece), Natalia Matta-Landero (Chile), Kimberly Meenan (USA) Yvonne Morales Traulsen (Mexico), Sofia Ntona (Greece), Thalia Raftopoulou (Greece), Carly Schmitt (USA), Rosa van Goudoever (Holland) Eriphyli Veneri (Greece)
Together with the artist Danica Dakić, Guest Professor in the MFA program Public Art and New Artistic Strategies at Bauhaus-University Weimar and Assistant Professors Nadin Reschke and Lisa Glauer, traces remaining after forty years of GDR history were examined in the form of artistic interventions in the city of Weimar. Citymap develops a new reading of the city beyond that presented to tourists in the form of well known attractions: The students from 13 different countries show temporary installations, performances and other artistic activities, taking place at various, sometimes hidden locations, in the city of Weimar in January 2010.
In February these experiences will be carried to Sarajevo and presented to the public during Sarajevo Winter by using Charlama Depot Gallery as base for meetings and discussions, giving a presentation at the National Gallery and a talk on public art at SCCA.
In cooperation with: Sarajevo Winter, Charlama Depot Gallery, National Gallery of Bosnia and Herzegovina, SCCA
Twenty-One Minutes of Dialogue
In „Twenty One Minutes Of Dialogue“ Yvonne Morales and Anthony Antonellis engaged in a dialogue about their recent works in Weimar. Sitting at a table in a stage like setting they watched a recording of themselves in exactly the same situation talking and reflecting upon the process of working in public space. They played with reality through several recordings, each mirroring the other and thereby questioned if not every presentation is a constructed reality.
Excerpt from Presentation Tool Kit, workshop „Open Space“ WS 2009/2010 MFA Program „Public Art and New Artistic Strategies“,Bauhaus- University Weimar, Nadin Reschke
Re: replay, recycle, restart
re: replay, recycle, restart
Ein Projekt des Masterstudiengangs
"Kunst im öffentlichen Raum und neue künstlerische Strategien"
der Bauhaus-Universität Weimar,
unter der Leitung von Gastprofessorin Maja Bajevic
künstlerischen Mitarbeiterinnen Lisa Glauer und Nadin Reschke.
13.07.-17.07.2010
Arbeiten im öffentlichen Raum in Erfurt
und Ausstellung in der M10 Galerie, Marienstraße 10, Weimar.
13.07.2010, M10
18 Uhr Vernissage
19 Uhr Shuttlebus nach Erfurt
16.07.2010, M10
10 Uhr Shuttlebus nach Erfurt und zuruck
16 Uhr M10 Podiumsdiskussion mit Christiane Mennicke Schwarz
(Kunsthaus Dresden) und Anton Lederer (< rotor > Graz)
18 Uhr Finissage mit Snacks & Drinks
Öffnungszeiten M10
Di-Sa 16-20 Uhr
Swimming Backwards @ Bétonsalon
Parties prenantes 4·: Swimming Backwards
20th - 31th July 2010
The students from master ’Public Art and New Artistic Strategies’of the Bauhaus University in Weimar
This project aims at looking at neighbourhoods in transformation and asks what role artists can play in such processes of urban development. The students will explore the 13th district together, meet with inhabitants, organizations, employees, shopkeepers and students. These meetings will be the basis for the students to develop small, spontaneous, temporary interventions in public space. In doing this, the students temporarily intervene and take part in the „writing“ of this district and show their culturally-shaped perception of urban developments in this area of the city.
http://www.blogg.org/blog-68480-billet-swimming_backwards_workshop-1229156.html
Plattenbau(haus)
Plattenbau(haus) is a site specific installation in the form of a painted construction billboard. It sits in a vacant lot advertising a forthcoming Plattenbau complex.
A city’s architecture can be used as a way to manage its identity, culture, and even memory. As a city grows it creates layers of architecture, some with competing narratives. In Weimar there are many periods of historical significance which are represented architecturally in their original forms or re-staged. Buildings deemed of no architectural or cultural significance are demolished or reworked to fit the desired narrative. As a result authentic-reproductions of 18th and 19th century buildings attempt to repair the narrative and effectively reset the city to an earlier time. There has been little or no attempt to reconcile the GDR era architecture into the narrative which has resulted in architectural pentimento.
The term pentimento is used in fine art to describe trace elements leftover from an alteration. In the same way that an under-drawing or original brush mark can reappear in an oil painting, the scars and remnants of past architecture appear throughout a city. This phenomenon is seen with the Plattenbau of Weimar West. They are regarded as a post-war GDR relic and have been effectively written out of the city’s desired touristic and cultural image. By contrast the 1920’s Bauhaus structure the Haus am Horn fits quite well within the narrative. It can be argued that this single building holds more significance in the narrative than the sum of all the GDR architecture.
Plattenbau(haus) depicts a Weimar West Plattenbau complex created entirely from repeating Haus am Horn units. In folding together these two structures its objective is to bridge the gap in the narrative and to highlight the process in which the city’s memory can be defined through the manipulation of architecture.