Von Sinnen

Autos schlängeln durch die Straßen,
rumpelnd Schlaglöcher abzupassen
– hören.

Abgase infizieren reinigende Luft,
verteilen im Takt chronisch, ruß’gen Duft
– riechen.

Zunge sanft vom Inhalat umschmeichelt,
sucht vergebens nach Süße, die streichelt
– schmecken.

Triste Häuser immer Grauer,
Blick gen Himmel tilgt die Trauer
– sehen.

Gassen schleusen eis’gen Wind,
frostig piekst er Mann und Frau und Kind
– fühlen.

getrübte Freuden lauern im Quartier
öffnen uns eine imaginäre Tür
– 6. Sinn

 

Hier, wo die Arbeiterschaft einst nächtigte, Leerstand nachwievor präsent ist, Müll auf den Straßen und ein rauher Umgangston zuweilen für Unmut sorgen, haben wir uns auf Genussreise begeben. Denn so sehr das Bild des Viertels nach Außen getrübt scheint, so sehr liegt darin auch eine eigensinnliche (!) Form des Genusses verborgen.

Indem wir sechs Künstler:innen und drei örtliche Kreativschaffende über einen Zeitraum von fünf Monaten zusammenbrachten, stießen wir den theoretisch-praktischen Dialog um einen Sonnenberg der sinnlichen Genüsse an, den es sich lohnt mit Freude zu entdecken. 

In drei Etappen erforschten hierfür zeitgleich jeweils zwei Künstler*innen einen der sechs Sinne. Ihre Arbeit wurde begleitet von drei Dokumentar:innen aus den Bereichen Musik, Journalismus und Design/Fotografie. 

Ob Kulinarik, Intervention, Performance, Installation oder Rundgang – wir machten den Sonnenberg mit allen Sinnen sicht- und fühlbar.

Dialogfeld 1

  • SEMÂ BEKIROVIĆ

    Semâ Bekirović lives and works as an artist and curator in the Netherlands. She studied at the Rietveld Academy and the Rijksakademie in Amsterdam. Her work can be summarised as playful conceptual art in which objects, people, animals and/or chemical reactions stimulate each other to play their roles in a randomly staged play.

  • Übersetzungen

    Based on sculptures and texts from the GDR era, three works are created that deal with their perception in order to create a dialogue between past and present. A video shows children tracing figures from a relief based on Brecht's poems of praise. A silicone cast of the work ‘Kampf und Sieg’ by the deceased artist Johannes Belz will be installed as a temporary memorial to the artist, who experienced many restrictions when designing the work.
    restrictions when designing the work. A video work shows a student (Octavio Gulde) reading from a diary. What is confusing: the diary is written in the ‘I’ form, but describes a life during the GDR. It is the diary of his grandfather,
    who describes his hopes, dreams and disillusions. The text makes us aware of this specific story as well as the universal dreams of change.

  • SEMÂ BEKIROVIĆ

    Semâ Bekirović lives and works as an artist and curator in the Netherlands. She studied at the Rietveld Academy and the Rijksakademie in Amsterdam. Her work can be summarised as playful conceptual art in which objects, people, animals and/or chemical reactions stimulate each other to play their roles in a randomly staged play.

  • Übersetzungen

    Based on sculptures and texts from the GDR era, three works are created that deal with their perception in order to create a dialogue between past and present. A video shows children tracing figures from a relief based on Brecht's poems of praise. A silicone cast of the work ‘Kampf und Sieg’ by the deceased artist Johannes Belz will be installed as a temporary memorial to the artist, who experienced many restrictions when designing the work.
    restrictions when designing the work. A video work shows a student (Octavio Gulde) reading from a diary. What is confusing: the diary is written in the ‘I’ form, but describes a life during the GDR. It is the diary of his grandfather,
    who describes his hopes, dreams and disillusions. The text makes us aware of this specific story as well as the universal dreams of change.

  • IRÈNE HUG

    Irène Hug lives and works as a visual artist in Berlin-Mitte. She studied painting at the Gerrit Rietveld Academie in Amsterdam. Irène Hug confronts us with messages in garish neon signs, objects, installations and photographs. She assembles, quotes or retouches, reacting to found materials, situations or stereotypical appearances and commenting on them creatively. From comical to ironic, she questions the perception of the supposedly neutral world, entanglements in omnipresent consumption and challenges viewers to get to the bottom of the true meaning of things and words behind the surfaces.

  • Unsichtbare Substanzen

    Whilst wandering around Sonnenberg, Irène Hug discovered one of the many empty Wilhelminian-style houses with the sign VITAMINE above the locked shop door. This led her to the story of the discovery of the 13 vitamins; 1913: vitamin A, 1918: vitamin D, 1920: vitamin B2 and so on. So around the time when these houses were built. The writing above the shop probably also dates from that time. What was so important back then, an invisible substance, was suddenly defined and recognised as vital. All that remains in the shop is a pile of rubbish,
    evidence of the recent past. Now, however, things cast large shadows and refuse to fade away. They even move and postulate VITA.

  • IRÈNE HUG

    Irène Hug lives and works as a visual artist in Berlin-Mitte. She studied painting at the Gerrit Rietveld Academie in Amsterdam. Irène Hug confronts us with messages in garish neon signs, objects, installations and photographs. She assembles, quotes or retouches, reacting to found materials, situations or stereotypical appearances and commenting on them creatively. From comical to ironic, she questions the perception of the supposedly neutral world, entanglements in omnipresent consumption and challenges viewers to get to the bottom of the true meaning of things and words behind the surfaces.

  • Unsichtbare Substanzen

    Whilst wandering around Sonnenberg, Irène Hug discovered one of the many empty Wilhelminian-style houses with the sign VITAMINE above the locked shop door. This led her to the story of the discovery of the 13 vitamins; 1913: vitamin A, 1918: vitamin D, 1920: vitamin B2 and so on. So around the time when these houses were built. The writing above the shop probably also dates from that time. What was so important back then, an invisible substance, was suddenly defined and recognised as vital. All that remains in the shop is a pile of rubbish,
    evidence of the recent past. Now, however, things cast large shadows and refuse to fade away. They even move and postulate VITA.

  • SEMÂ BEKIROVIĆ
    January 1, 2020
    IRÈNE HUG
    December 30, 2020
  • ANNA TILL
    January 1, 2020
    HEIKO WOMMELSDORF
    December 30, 2020
  • TAINÀ GUEDES
    January 1, 2020
    KLARA RAVAT
    December 30, 2020