JULIUS VON BISMARCK

032c Workshop / Joerg Koch is pleased to present new work by Berlin-based artist JULIUS VON BISMARCK (b. 1983).

1005712_614011181949898_1153909728_n

Exploring the ambiguous relationship between nature and culture, Von Bismarck manipulates existing technologies to invent new ways of seeing and experiencing the world.

At 032c Workshop Bismarck debuts Forest Apparatus Video and Documentation, a continuation of the artist’s recent exhibition, Unfall am Mittelpunkt Deutschlands (Accident at the center of Germany), organized at Alexander Levy gallery, Berlin. Using a range of synthetic materials, Bismarck has fabricated an artificial birch tree that appears indistinguishable from its real counterparts. The tree was carried into the forest of Grunewald, where it was raised and planted into a concrete foundation, becoming a permanent fixture in the Berlin park. With the guidance of a map made by the artist, visitors to Grunewald are welcome to look for and discover Forest Apparatus, which remains both a monument to nature and an object that questions our very understanding of naturalness.

In February 1991 a basswood tree was planted in the Thuringian province of Germany, a site where Bismarck enacted part of his recent body of work. In April this year, the artist had a Volkswagen Golf smash into the tree, which grows at the geographical center of Germany, thereby using an apparent accident to create an aesthetic act in which nature, technology, and power collided.

Click here to see opening scenes.

von bismarck_01

032c Workshop / Joerg Koch is an exhibition space in Berlin. Featuring an eight-meter-long vitrine designed by Konstantin Grcic, its programming is dedicated to the idea and different formats of the archive.

Deeper

  • Life Exists: Theaster Gates’ Black Image Corporation

    Theaster Gates' “The Black Image Corporation” presents photographs from the holdings of Chicago’s Johnson Publishing Company, a sprawling archive that shaped “the aesthetic and cultural languages of contemporary African American identity.” Gates approached the project as a celebration and activation of the black image in Milan through photographs of women photographed by Moneta Sleet Jr. and Isaac Sutton – of black entrepreneurship and legacy-making. “Life exists” in the Johnson archive, he says, just as it exists and should be honored in other places of black creativity.More
  • FRIDA ESCOBEDO: The Era of the Starchitect is Over

    Rising Mexican architect Frida Escobedo is relentlessly inquisitive, eschewing stylistic constants in favour of an overriding preoccupation with shifting dynamics. Personal curiosity is the driving force behind her practice, which makes he an outlier in a profession dominated by extroverted personalities keen on making bold assertions. "I think it really is a generational shift," Escobedo says. "The idea of the starchitect making grand gestures with huge commissions is over."More
  • “I live a hope despite my knowing better”: James Baldwin in Conversation With Fritz J. Raddatz (1978)

    Born in Berlin in 1931, editor and writer Fritz J. Raddatz relied on food delivered by African American GIs after the death of his parents. To Baldwin he was an “anti-Nazi German who has the scars to prove it.” Debating his return to the USA after 25 years, Baldwin explores the political climate in America at the end of the 1970s in a conversation at home in Saint-Paul-de-Vence.More
  • House as Archive: James Baldwin’s Provençal Home

    For her new book, Magdalena J. Zaborowska visited the house Baldwin occupied from 1971 to 1987 “to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity”. Here, she narrates her early journeys to Baldwin’s home and proposes a salve for its recent loss: a virtual presentation of Baldwin’s home and effects.More
  • Where are the real investments? Theaster Gates on James Baldwin

    The Chicago-based artist talks to Victoria Camblin about materializing the past, the house as museum, and preserving black legacies. Social and artistic engagement, Gates suggests, may allow the contents and spirit of Baldwin’s home, and others like it, to settle in lived experience.More