Berlin Carousel "The Academy as Living Artistic Practice"

Since the 1990s, Arnold Dreyblatt has worked in various performative installation projects with the specification of overlapping time sequences in scores to make artistic processes visible. In doing so, he draws on John Cage’s Theater Event No. 1 (1952), in which artists performed simultaneous actions in the audience within fixed time frames, as well as on Lawrence Halprin’s use of the score as a means to foster “spontaneity and interaction” that are “not oriented toward a specific result” (see The Rsvp Cycles: Creative Processes in the Human Environment, 1970).

Berlin-Karussell takes up Cage’s circulation processes and further develops the idea of a non-centered composition. Dreyblatt envisions the Academy of Arts as a temporary “working academy” in which more than 40 Academy members and invited artists from all disciplines engage in process-oriented research, discussion, performance, and interaction. The open project space in an exhibition hall of the Academy building on Hanseatenweg, designed specifically for the project by the collective raumlaborberlin, becomes both a site of production and a space where the boundaries of artistic categories are crossed and expanded.

A schedule indicates when individual artists or groups are active in the space. Over the course of five weeks, visitors are invited daily between 2 and 7 p.m. to observe artistic practice in progress and to participate in it. During evening events, the participating artists and collectives present both the events developed within the space and additional works. Interdisciplinarity, as well as time- and process-based art forms that can be experienced within this open working process, form the core of the project.

Participants

Artists, scholars, and curators:

Hubertus von Amelunxen, Çağlasu Aslan, Jeanne Astrup-Chauvaux, Patrizia Bach, Tomas Bächli, Joseph Beuys, Arno Brandlhuber, Ethan Braun, Tony Buck, Andreas Bülhoff, Nicholas Bussmann, Anna Butter, Frieder Butzmann, Greta Casà, Benedetta Castrioto, Alfredo Costa-Monteiro, Moussa Coulibaly, Jakob Deider, Christopher Dell, DJ Shlucht, Charlotte Dualé, Jan Faktor, Helga Franza, Dani Gal, Elizabeth Gallón Droste, Michael Geißler, Emiko Gejic, Adam Goodwin, Manuele Gragnolati, Ulrike Grossarth, Constanze Haas, Mona Hatoum, Adrienne Herr, Christoph Holzhey, Nan Hoover, Paul Hübner, Gary Hurst, Dominique Hurth, Hwanhee Hwang, Petja Ivanova, Allan Kaprow, Käthe Kruse, Raimund Kummer, Brandon LaBelle, Labour, Elisabetta Lanfredini, Claus Löser, Anton Lukoszevieze, Daniela Marcozzi, Amir Mardaneh, Marc Matter, Magda Mayas, Nanne Meyer, Ari Benjamin Meyers, John Miller, Mouse on Mars, Christian Naujoks, Hajnal Nemeth, Daniel Ott, An Paenhuysen, Nam June Paik, Adam Page & Eva Hertzsch, Lia Perjovschi, Jovana Popic, Steffen Reck, Stefan Römer, Marina Rosenfeld, Andreas Rost, Eran Schaerf, Eva-Maria Schön, Anna Lena Seiser, Geetha Sridharan, Christoph Tannert, Iris ter Schiphorst, Manos Tsangaris, Margerita Tsomou, Jakob Ullmann, Maria Ustenko, Manuel de Villiers, Cécile Wajsbrot, Raul Walch, Sasha Waltz, Jan St. Werner, Nico von Wersch, Clemens Winkler, Jeremy Woodruff, Walter Zimmermann, Vizma Zvaigzne

Additional contributions by Berlin School of Sound, International Artists’ Committee (IKG), International Society of Fine Arts e.V. (IGBK), n.b.k. Video Forum, raumlaborberlin, Saxon Academy of Arts, Sound Practice Research Collective (SPRK) at the Folkwang University of the Arts, Studio for Electroacoustic Music, Versatorium—Association for Poetry and Translation, Weißensee Academy of Art Berlin, and others

Workshops, concerts, performances, talks, readings, open studios

Over 40 international artists from various disciplines create simultaneous, non-linear events in a composition developed by Arnold Dreyblatt, inspired by John Cage.

A project by Arnold Dreyblatt and the Academy of Arts in cooperation with raumlaborberlin

IN GERMAN & ENGLISH