Barbara Holub [transparadiso] TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma
Burg Giebichenstein, Kunsthochschule Halle 05.11.2018 www.transparadiso.com www.missingthings.org www.barbaraholub.com www.urban-matters.org
Schaffen einer 5 Times ofDilemma(Valletta 2018/ Malta) Was kann Kunst tunimKontext von Stadtentwicklung? Was kann Kunst nicht tunimKontext von Stadtentwicklung? Wieoperieren infremdem Terrain? Und wieGentrifizierung entgegenwirken? 4 TheFirst World Congress oftheMissingThings(Baltimore /USA) 2 TheBlue Frog Society“, 2010> 3 Harbour for Cultures (Trieste/ I) 1 Künstlerisch-urbanistische Strategien: zwischen Forschung undPraxis 0 Kann “stiller Aktivismus“ zum„Paradies“ beitragen? W Vision einerGes P lanning Unplanned und unschproduktion: urbanistische Programme für einesoziale Gemeinschaft Situation Situation ellschaft ohneGrenzen für Verantwortung und Eigeninitiative
direkter Urbanismus
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 0 Kann “stiller Aktivismus“ zum „Paradies“ beitragen?
Wie kann Kunst zu gesellschaftlicher Veränderung beitragen und trotzdem ihre Autonomie bewahren?
„Wir befinden uns im noch frischen 21.Jahrhundert in einer Situation, in der es kaum darum gehen kann, dem Künstler oder dessen Werk weitere Autonomie zu verschaffen. Vielmehr verlagert sich die zeitgenössische Form ästhetischer Autonomie darauf, den Rezipienten Möglichkeiten von Autonomie zu eröffnen. [...] Mit der Eröffnung von Möglichkeiten zur Autonomie wird das Auslösen von Handlungen zur künstlerischen Aufgabe.“
Pierangelo Maset. Bewegungsabläufe nervöser Kunstbegriffe, in: „Dürfen die das?“, hg. Stella Rollig und Eva Sturm, 2002 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO „Stiller Aktivismus“ schafft „Situationen“ für Eigenverantwortung
Kunst kann einen Handlungsraum eröffnen:
_Eigenverantwortung zurückspiegeln an Beteiligte
_Möglichkeiten des Handelns eröffnen, anstatt als Künstlerfür andere zu handeln.
_Von „(Kunst)KonsumentInnen“ zu „AutorInnen“: Sie erfahren sich in einer Position der Verantwortung
_klare Definition der Rollen aller Beteilgten (Künstler, RezipientInnen, „KonsumentInnen“...): die „Situation“ gibt einen Rahmen vor, innerhalb dessen sich jede/r verhält, wie er/ sie es möchte oder kann.
_offener Prozess: keine vorgefertigte Erwartungshaltung an das Ergebnis
_jede Handlung - auch die Nicht-Handlung - ist politisch Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Planning Unplanned - Towards a New Positioning of Art in the Context of Urban Development Künstlerisches Forschungsprojekt, geleitet von Barbara Holub Institut für Kunst und Gestaltung/ TU Wien, 2010-2013
Direkter Urbanismus transparadiso (Barbara Holub/ Paul Rajakovics), Verlag für moderne Kunst Nürnberg, 2013
Künstlerisch-urbanistische Strategien: zwischen Forschung und Praxis Planning Unplanned und direkter Urbanismus ur ism ban Direct transparadiso that integrate and artistic unconventional into practices the tion, and involves decision-makers residents, users, and tial of factor acritical spatial that practice aims at offsetting u. D. locations. tacular tical towards an approach to urban planning that provides finally they are, aresometimes differentthan was anticipated. urbanism and architecture. and urbanism and atapart often unspec- from the of industry spectacles, .u. rather thana process apreconceived image or setplan. D. .u. D. others. by ued the dichotomyact of and top-down bottom-up planning, and .u. is both attitude and D. action. .u. D. interests. neoliberal Barbara Holub /Paul Rajakovics .u. involved. D. become .u. have no say or place. D. .u. D. .u. D. projects as one projects considers social aspects and societal processes an and essen- societalconsiders social processes aspects u. commissioned –wherever there D. is aneed. desired changes are not immediately visible and when they durational u. of urban process planning. D. ops and site- context-related tools as well as new methods u. other in agents ofperformative the city D. settings. ests, and engages insteadests, in collaborations with those who explores exactly and when local specialists experts should .u. D. search through –in an practice open process. simplistic solutions using predefined methods and remedies. is the title of this book that transparadiso’s presents creates situations that beappropriated can and contin- practice operating practice within the context of art, - is incompatible with profit-driven inter- takes place –whether self-initiated or acts transdisciplinarily, acts pursuing re- advocates direct urban interven urban direct advocates requires patience the as often operates unspectacularily, unspectacularily, operates - tries to counter to tries propagates propagates is skep- devel - -
-
Direct urbanism Direct
transparadiso Direkter Urbanismus zu überwinden, indem genau untersucht wird, zu welchem oder EntscheidungsträgerInnen BewohnerInnen, zerInnen, .U. werden –und andersD. oft als erwartet. takulär, abseits von publikumsträchtiger Spektakelwirt- ein teurInnen betrachtet U. und behandelt soziale As- D. Plans. fertigen Zeitpunkt und welche LokalexpertInnen ExpertInnen als Ak- Stimme im dominanten System wirtschaftlichen keinen Platz und KontextOrt bezogene Tools und neue Methoden, die D. U. versteht U. sich nicht mit und fortgeführt werden können. D. an, die Dichotomie von top down- und up-Planung bottom entwickelt U. dafür speziell auf den D. anderen AkteurInnen. .U. Haltungist und Handlung zugleich. D. ne Intervention mit performativer Involvierung von Stadtnut performativer mit Intervention ne .U. da,beauftragt, wo notwendig es D. erscheint. erfordert Geduld, da Veränderungen erwünschte erfordert U. oft D. hat. strebt U. D. einbeziehen. Planung urbanen längerfristigen Kunst-, Urbanismus- und Architekturkontext agieren, als das dieBuches, Projekte von transparadiso, die zwischen kapitalisierenden gentrifizierenden oder Aufgabenstellun ist U. mit Forschung durch Praxis –als D. offener Prozess. Interessen als wesentlichen Faktor einer engagierten und künstlerische und unkonventionelle und Teil als Praktiken einer künstlerische setzt auf setzt U. die direkte urba-kritischen räumlichen Praxis. D. pekte undpekte gesellschaftliche Prozesse jenseitsneoliberaler einer simplifizierten oft Form von Problemlösung beitragen die in Form von Rezepten oder vordefiniertenMethoden zu erst in der nächsten oder übernächsten Wahlperiode sichtbar eine gen, sondern agiert in direkter Kooperation mit jenen, deren den Prozess anstelle eines vorgestellten Bildes oder eines schafft Situationen, die von anderen angeeignet angeeignet von die anderen Situationen, schafft U. D. soll. skeptisch gegenüber einer Auffassung von Stadtplanung, schaft, oft an oft unspektakulärenschaft, –selbst initiiert Orten oder Praxis zeigt. Praxis agiert transdisziplinär, transdisziplinär, agiert U. bezogen werden. D. Barbara Holub /Paul Rajakovics operiert unspek operiert Titel dieses dieses der ist Titel transparadiso propagiert propagiert - - -
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Wörterbuch Lexicon of terms “ urban action” in the hands of urbanists, meaning “assessing all the the all “assessing meaning urbanists, of “ hands the in action” urban „gestalten“, „formen“, „sich ausdenken“. Fiktion bezeichnet die Schaf Technische Universität 2000. Graz, grammatische Planung und taktische urbane Intervention verknüpft. denen Maßstäben und Zeitabläufen zu konzipieren und zu vermitteln. or other forms of representation, and furthermore for dealings dealings for furthermore and representation, of forms other or designate an own world created through literature, film, painting painting film, literature, through created world own an designate kommt. Einsatz zum Kunst der Teilen weiten in die as the basis of direct urbanism.” direct of basis the as against being “planned” does not have an adequate dimension Contextual action in architecture and urban development urban and architecture in action Contextual An adapted definition from the dissertation by Paul Paul by dissertation the from definition adapted An Adaptierte Definition aus der Dissertation von Paul Rajakovics: Rajakovics: Paul von Dissertation der aus Definition Adaptierte wherever classic planning fails, but also wherever the resistance programmatic links that procedure urban an is action Contextual wickeln. Kontextuelles Handeln ist eine „urbanen Art Handelns“ von ent- zu Ort einen für Fiktion eine um ist, genug groß nicht werden, project on this basis at multiple levels and to various scales and and scales various to and levels multiple at basis this on project with an imaginary world of this kind. Fiction is a significant cultural cultural asignificant is Fiction kind. this of world imaginary an with planning with tactical, urban intervention. It is applied in particular particular in applied is It intervention. urban tactical, with planning Kontextuelles HandelnKontextuelles in und Architektur Städtebau professionellen Agierens und damit als Grundlage von direktem time sequences. Contextual action can be regarded as a synthesis asynthesis as regarded be can action Contextual sequences. time to develop a fiction for a location. Contextual action is a type of type is a action Contextual location. a for afiction develop to Contextual action action Contextual technique, it is used in a very broad section of the arts. the of section broad avery in used is it technique, to used term the is up”. Fiction think “to form”, “to something, to Wikipedia, http://de.wikipedia.org/wiki/Fiktion Wikipedia, fassen und daraus ein Projekt auf mehreren Ebenen und in verschie- in und Ebenen mehreren auf Projekt ein daraus und fassen fung einer eigenen Welt durch Literatur, Film, Malerei oder andere Retrofiction Retrofiktion Fiction Fiktion Kontextuelles Handeln Es findetseine Anwendung,dort insbesondere woklassische Film etc. produziert wird, verleitet uns vielfach dazu, in Kategorien Die dialektische Abfolge von Bildern, egal ob sie über Kunst, Mode, Formen der Darstellung sowie den Umgang mit einer solchen Welt. Planung versagt, aber auch dort, wo der Widerstand, „beplant“ zu zu „beplant“ Widerstand, der wo dort, auch aber versagt, Planung Bei der Fiktion handelt es sich um eine bedeutende Kulturtechnik, Graz UniversityGraz of Technology, 2000. Urbanismus gesehen er- zu Situation einer Einflüsse „alle bedeutet, was UrbanistInnen, influences oninfluences situationa responding bydevising and mediating a between the tactics and the strategy of professional action and thus thus and action professional of strategy the and tactics the between Kontextuelles Handeln kann als Synthese von Taktik und Strategie Strategie und Taktik von Synthese als kann Handeln Kontextuelles Kontextuelles Handeln ist eine urbane Vorgehensweise, die pro Latin fictio: Latin lat. fictio: lat.
„Gestaltung“, „Personifikation“,„Erdichtung“ vonfingere “design”, “personification”, “fiction”, “to give shape” shape” give “to “fiction”, “personification”, “design”,
werden.“ Rajakovics: , , - - transparadiso in: Open, 2007, NAi Publishers Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO DU isteineneue Planungsmethode jenseitsvon „bottom up“ und„top down“. BewohnerInnen/ NutzerInnen - Dubetont denöffentlich-urbanen Raum als Raum für Aneignung durch die - DUbehandelt aktuelle urbaneFragestellungen inihrer gesellschaftlichen Komplexität - für undProzess-orientierte einesozialStadtentwicklung engagierte Planungsstrategien: Prozess inStadtplanung undStadtentwicklung - auf gleicherEbenezuherkömmlichen Direkter Urbanismus Kunst involviert und künstlerische Strategien alslangfristigen Direkter Urbanismus
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Barbara Holub and Christine Hohenbüchler (eds.) with contributions and artist projects by: Markus Ambach, atelier d‘architecture autogérée, Peter Arlt, Anette Baldauf, Kerstin Bergendal, Regina Bittner, Valentin Diakonov, Stefan Gruber, Jeanne van Heeswijk, Christine und Irene Hohenbüchler, Barbara Holub, Isola Art Center / Bert Theis, Grant Kester, Torange Khonsari, Folke Köbberling, Elke Krasny, Yvette Masson-Zanussi, Paul O‘Neill, Osservatorio Urbano / Lungomare, Paul Rajakovics, Jane Rendell, Karin Reisinger, Mick Wilson, Georg Winter.
Graphic Design: Rosebud, Inc., Vienna Translations and copy-editing: Ada Brant, Thomas Martin Pesl Printed by: Holzhausen Druck GmbH
German / English, 256 p., numerous color images 26 x 19 cm
Euro 35.- ISBN 978-3-86984-063-5
VERLAG FÜR MODERNE KUNST, 2015 www.vfmk.de Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO „Wenn ich in der Falle sitze, verhalte ich mich wie ein Künstler.“ Antanas Mockus
Künstlerische Strategien und die transdisziplinäre Rolle des „urban practitioners“: _zwischen den Feldern von Kunst, Urbanismus, Soziologie, und anderen Expertisen > Differenzierung zwischen Kunst und künstlerischen Strategien: um künstlerisch zu handeln muss man kein/e KünstlerIn sein Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO projects has not yet been undertaken at this point in time. The study Kunst economic conditions of a situation. The goal of the urban practitioner is to macht Stadt!? by Kubesch/Rode/Wanschura {58} examined the impact of create a situation that enables local residents, politicians, and decision-mak- Vienna’s Soho in Ottakring art festival (founded in 1999 by artist Ula Schnei- ers to continue with a process once started, providing assistance only when der) on the Soho district’s identity and could be considered a first step in that needed. Through its fluidity, this role can assume a position suited to a direction. However, this study—and all other studies—must be critically specific moment in time and to the needs of the people involved. The role may examined in terms of whom it is meant to serve. In this case, the goal was to switch from that of an “educator” (although not labeled as such) to a citizen, to investigate how the Soho in Ottakring {59} experience could serve as an a professional—according to the field or specific situation required. It is example for implementing art to revalue certain areas of the city. In the important to note that the critical voice of the urban practitioner never waives, context of Vienna, this does not necessarily mean gentrification (at least not always defending the independence of artistic strategies and of art that on the same scale that other cities have experienced it), since the structures questions societal conditions. The outstanding potential of the urban are too complex. {60} Therefore, one must be even more aware of the danger practitioner is to be both the “other” and the “self”, to act from inside—yet of transferring initiatives like Soho in Ottakring to other urban contexts, as it pretend to operate from outside the system (as needed according to the could easily result in gentrification. circumstances), to switch roles, to be discrete and overt, to be unpredictable. If evaluation were to be used to legitimize investments in art, the artistic This strategy of disguise was exemplified by Michel de Certeau as “le concerns and quality of taking a stand—against dominant interests or péruque” (the wig) {62} when addressing traditional working conditions in a otherwise—would be endangered. Since we are so used to adhering to the factory. Paul Rajakovics writes about how we can also make use of other fulfillment of the quest to judge by quantity (of visitors) rather than discussing terms, tactics, and strategies introduced by de Certeau, explaining how we the quality of the experiences of individuals—something that cannot be can adapt and employ them for current urban issues. {63} The recurrent use of measured by mainstreamed questionnaires—we need to shift the criteria of military terminology by participants when describing current urban practices evaluation. How could one measure the value of a peaceful and inspiring in the above-mentioned conference on “The Role of Artists & the Arts in community living together? Can these qualities be reduced to a figure? Or is it Urban Resilience” (Baltimore, 2014) became a topic in itself during one not rather the multitude of individuals who contribute to a vital and diverse discussion. {64} It was also pointed out that no one had mentioned the word community, with their often unwanted various social or cultural backgrounds? avant-garde as being a forerunner among military terms crucial to the art Counteracting linear “input–output” evaluations is usually based on a need to context. Could this “missing word” indicate the necessity to have the courage claim other values, where artistic knowledge and research would be fruitful to reclaim the new function of art as being avant-garde? This is in the sense of and highly important: to develop new ways of appreciating the quality of using the underrecognized position of being on the fringes of society to ask personal experience and the communication processes that are enabled by crucial questions concerning society—and to believe in their potential to artists. actually have an effect. Is this a current potential role of the non-outspoken revolutionary who comes to terms with the fact that we are all part of the system—and that we thus need to challenge it from the inside (as de Certeau 4_tools, taCtiCs, aNd strategies suggested with his strategy of the péruque), counteracting it with the means 62 See Michel de Certeau, we have at hand? Could artistic strategies of this kind become a different kind The Practice of Everyday Life, 1984; L‘invention du quotidien. Vol. 1, Many artistic urbanism groups, including stealth (Belgrade), MUF (London), of activism? Arts de faire, 1980. atelier d’architecture autogérée (Paris), transparadiso (Vienna), Teddy Cruz 63 See Das künstlerische Handeln (San Diego), Stalker (Rome), and Ala Plastica (Buenos Aires) {61} have 4.1 ARTISTIC URBANISM STRATEGIES in einer neuen Praxis – „Urban developed specific tools and/or urban strategies for engaging, on various What follows are examples of artistic urbanism strategies (based on our, Practitioners“ by Paul Rajakovics, p. 134 ff. levels, in long-term, socially oriented urban development processes that can i.e. transparadiso’s work) that can contribute to a new methodology of an 58 Kubesch, Christian/Rode, react to rapidly changing parameters and incorporate the expertise of artists open-ended process for urban development. Many of them are inter- 64 “Transatlantic Symposium. The Philipp/Wanschura, Bettina: Kunst Role of Artists & the Arts in Urban Resil- macht Stadt?! Study for the City of and urbanists on an equal level. Many artists, sociologists, activists, theorists, connected and can be employed and ience”, organized by Wilfried Eckstein, Vienna, 2008. urban researchers, and people from other fields have been operating in interpreted in ever-new permutations. Goethe Institut, Washington D.C., May 31–June 1, 2014, MICA, Baltimore. 59 The name was criticized from transdisciplinary roles in manifold collaborations pursuing similar goals. In the very beginning for being a direct spite of the significance, their tools and strategies have not yet been analyzed 65 The first time we employed reference to the gentrification process → Unlearning unlearning as a strategy was in in Soho, New York. in depth or extracted as methodologies. This is one of the reasons why we Valparaíso (Chile, 2001) for the “deseo have compiled the urban-matters.org database, which will be expanded by an Unlearning means forgetting imaginary and actual urbano” project, in which we developed 60 The last remnants of the legacy an urban game for involving residents, of the “Red Vienna” era (1920s) left in analysis of each specific project’s context, problems, and methods in the next barriers; leaving bias behind and evolving beyond city administrators, and government the social-democratic consciousness step. the experiences and the roles we have assumed, officials. We invited them to produce are somehow still present in public their wishes for the urban realm be- awareness. However, this remaining since they often result in self-censorship and yond conventional categories of urban public awareness is in danger of being I would now like to introduce the tools and strategies of direct urbanism prevent openness towards new methods and planning. In this way, unlearning is also completely extinguished, since current closely related to the production of (urban planning) policies are increas- (mainly exemplified by two of our projects, “Paradise Enterprise” and “The processes from surfacing. Unlearning claims an desires. Through this, we freed not only ingly based on neoliberal agendas, even First World Congress of the Missing Things”) together with the new role of “artistic state of exemption”, thus enabling us to ourselves from presumptions, but also in Vienna. freed everyone involved. The expertise “urban practitioners”, who attempt to shift dominant decision-making and free ourselves from any assumed expectations we was attributed equally to all the partici- 61 For more examples see the conventional methods of planning towards an open-ended process that are accustomed to acting in accordance with. {65} pants involved—no matter what back- projects in this publication and on ground, an aspect we consider intrinsic www.urban-matters.org respects and makes use of the specific social, societal, political, and to unlearning.
40 Planning Unplanned 41 Barbara Holub → Shifting roles → Anticipatory fiction → Expanding the context outside are important. It is crucial to not assume that all solutions are at hand, but instead to refer Shifting roles is closely connected to unlearning. to other situations with similar problems and Oftentimes the problem stated by the commission- It is a strategy that can be used in two types of Anticipatory fiction takes the envisioned final challenges to find modes of coping that may ing party needs to be reconsidered from a broader situations: from the outside, in order to set the outcome of a process and assumes it has already seem impossible to apply to a different situation. perspective in order to arrive at the core of the preliminary tenor of a project, and during the become reality. This conviction helps overcome Shifting the context allows the commissioning problem. In the “Commons Come to Liezen” course of a project: barriers and can achieve much more in the long run party to draw their own conclusions rather than project, transparadiso expanded the context from than dealing with any “expected” difficulties. pretending to have a solution at hand. the matter of empty ground floor areas to 1—Shifting roles is a method of creating new Anticipatory fiction goes beyond the production of The artistic strategy of drawing on the questioning the spatial politics of the municipality, narratives, possibly even new roles, such as desires {67} or the creation of visions. It works by concept of a congress as an established format which had purchased property from farmers in “actors”. {66} This strategy can also refer to the developing narratives that transgress the seem- for generating knowledge by people on-site, order to build a huge outlying shopping area, technique of the “péruque” (see de Certeau). In ingly doable, involving poetic moments as well as accepting them as the experts, was initially thus draining consumption from the city center. certain contexts, it is more viable for an artist to introducing new values other than that of the developed for the “First World Congress of the Therefore, transparadiso reintroduced the aspect act from the position of an urban planner, a prevalent neoliberal governance. Missing Things” (Baltimore, June 2014), and was of the “commons” (based on the town park, an developer, a social agent, or an activist—fulfilling then reinvestigated as an artistic method and orchard still functioning as commons, even though whatever the person vis-à-vis might consider to adapted for the “Second World Non-Congress”, this aspect had been forgotten in the public be a “professional”. In Judenburg, we simply stated that the “paradise” which took place at Aspern Lake City in Vienna awareness) and discussed the complexity of how was already there (in the outstanding quality of the in November 2014. The method of shifting the new economic practices and communities acting 2—Roles are switched according to the require- landscape space along the river Mur), and that it just context from a shrinking city to a growing city together could contribute to a new understanding ments of the process—regardless of the role in needed to be rediscovered and reinterpreted. obviously meant that conditions could not be and an assumption of responsibility for the which a person has been trained: from the “artist”, However, the method of anticipatory fiction can also compared. The chosen setting, artistic means, well-being of the town that goes beyond personal who is usually not taken very seriously (often even be employed to move in a completely different and procedures employed in Vienna were economic interests. seen as a “crazy person”), the “negotiator” (a direction. For example, when we were invited to completely different, yet the two congresses professional), the “architect/planning expert” develop a concept for the inauguration of Zeche had in common that they generated unexpected, (who understands the interests of developers), Zollverein Essen (Germany) as a design space, {68} yet specific, future perspectives. and many more. we proposed Plan B. Plan B was a project anticipat- → Research ing dependence on Russian energy supplies, the incalculable costs for consumers that go with this, through practice and the growing problematic of Central Europeans (especially retired people) not being able to afford heating anymore. Plan B proposed to make use of a recently closed surface → Dialog and polylog It is not possible to develop new tools, strategies, coal field in Köflach, Austria, by opening it up for “coal picking”. This was a and techniques through theory alone, they need reference to the self-picking strawberry fields that are enjoying growing to be used and tested in direct situations. The success in Austria, since this voluntary “manual labor” offers immediate challenge is that there is no predefined ground or pleasure as a pastime. {69} The Plan B project proposal was dismissed by the Bringing people with contradictory interests outcome. The direct experience and the parallel curator as being “cynical”—but the following year the Upper Austrian Regional together as active participants and offering analysis reflect back on developing the next steps Exhibition offered “coal picking” as an exhibition event, without addressing situations for them to communicate requires the for the concrete situation while continuing to any further complex set of problems that go with it. Our critical anticipated construction of non-hierarchical discussion develop and shape the dialog between theory and fiction had thus been overruled by mere entertainment at a different venue. situations. These new situations and encounters on research. This ping-pong process requires an eye-to-eye level can facilitate the leaving behind openness from all people involved, including the 66 See, e.g., the project 7x7 of familiar territories. It still needs to be carefully divesting of conventional concepts of what by osservatorio urbano/Lungomare. investigated in which situations activist strategies research is. Research through practice can be 67 See “Park Fiction” (Hamburg, → Shifting the context are more powerful for change—or when it is considered a method of artistic research. Unlike Germany) by Christoph Schäfer and conducive to provide situations for engaging conventional scientific research methods, {70} the Cathy Skeene, which has become the “mother of production of desires”. people in a communication process on an equal goal of employing research through practice is not level. Too often, the greatest obstacles to change to achieve a quantifiable measurement of results. 68 For the exhibition “Talking Cities” (2006), curated by Francesca Ferguson. Similar problems often arise in different cultural, are language and social barriers between the This artistic method (like the others mentioned societal, and political contexts. We can learn from various backgrounds, fields, and experiences. above) instead opens up space for unexpected 69 At the same time the strawberry fields are a signifier of manual labor these contexts and look at the means, methods, Artistic procedures can offer a language and knowledge through direct experience. being regarded as an unaffordable and tools they produced, to expand our vision and setting to communicate across diverse interests, good due to high labor costs in central Europe and therefore outsourced to produce ideas beyond what our imagination and thus overcome confrontational oppositons and big strawberry plantations such as usually perceives as doable (a limitation that often presumptions of non-understanding. 70 For example, sociological research those in Spain, which are harvested by methods often drawn upon for urban immigrant or migrant workers. can lead to self-censorship). Voices from the research.
42 Planning Unplanned 43 Barbara Holub Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO actual needs and shortcomings are, since “voices have been heard”. Creating → Conflict as → Open space or situations for appropriation means leaving the dichotomy of planners and consumers behind to construct settings where a different type of research, a productive force “The Urban Reserve” {72} like research through practice, is needed. Here, again, artistic strategies can play a fundamental role, e.g. understanding who should be involved at which point in a (planning) process. Situations where unheard voices and unwanted wants can surface should be taken as a basis for further progress. “The First World Congress of the Missing Things” {75} in Baltimore (June 2014) can be We need to reconsider conflict and start develop- Exempting certain areas from urban development considered a paradigmatic example of creating such a situation. How can one ing a “culture of conflict” as a possible productive in order to maintain a space as an urban reserve for return the public voice to the people using this rundown area next to the inner force for changing single-minded attitudes instead unplanning is a major strategy in complementing city of this shrinking town, which has recently been laden with expectations of aiming to eliminate conflict altogether. This the quest for a realized final state solely based on for raising its property value? How to engage these people, who are mainly applies especially to our Central European culture, a previous plan. Urban reserves supply the homeless and drug addicts, and gain their confidence in the meaningfulness where openly addressing conflicts is something potential to adjust to processes and unforeseen of getting involved in an art project? How to explain to city authorities that that is avoided. Conflicts are pushed to the outer changing parameters. For Beyond, a long-term this, or any art project, cannot and must not resolve the vast social problems edges and made invisible so as to not obstruct the urban arts program for the new Leidsche Rijn stemming from the political and economic system? This is why I decided to comforting feeling of well-being, which politicians, development in Utrecht, the Netherlands, curator use the word congress, referring to the unquestioned credibility of a congress in particular, try to convey. {71} This “forced” Tom van Gestel embedded a scenario called “blind to produce content and build contacts. However, I shifted the congress consensus means eliminating differences on the spots” to highlight this potential. At Aspern format away from the typical closed situation, creating an open access surface, even though differences are what Vienna’s Urban Lakeside, I proposed the Consor- conference in urban public space. While a congress is usually defined by its constitutes lively urban environments. Opposing tium Freies Feld (Empty Field Consortium) project. exclusiveness, the “First World Congress of the Missing Things” was based on interests need to be publicly discussed rather than The proposition was to not just leave a certain area providing a spatial setting for local people to articulate and discuss their arranged behind closed doors. Artistic practices empty (regardless of size), {73} but to reinterpret missing things. Exactly what these missing things were was up to their own can create settings and narratives for playing out it and develop an international forum to discuss the interpretation, of course, and ranged from “providing jobs for ex-convicts” to moments of conflict and even compelling them by deficiencies of urban development and “missing “a swimmable inner harbor”, addressing an entire range of social, urban, and using the art project as a rehearsal area for things” in a broader context and the conditions that societal issues. At the closing ceremony, the “Charter of the Missing Things” conflicts to be acted out. cause their absence. created by the congress was handed over to the mayor. This experience was new not only for the participants from disadvantaged backgrounds, but also for the politicians and public authorities who spent time at the congress together with those very people whom they otherwise only considered as “problems”. One of them said, seemingly touched: “Now, for the first time 4.2 CREATING SITUATIONS _ TAKING ACTION after having served in my function for 15 years, I feel that I am in touch again All these artistic tools and methods contribute to the main goal: creating with the people and the reason why I decided to get involved in politics.” Of situations for appropriating urban public space as part of durational urban course, one small, temporary event like this will not change political attitudes concepts by highlighting social values and translating these into cultivated as a whole, but it can indeed provide insight on what is needed. The aesthetic aesthetics. They proclaim the equal importance of “soft skills” (such as of the congress situation not only brought back an appreciation of this engaging with very different individuals and social groups of the population underrecognized site and the people living there, but it also created deep— 71 Recently, the right-wing Freedom and their controversial needs and agendas) and “soft facts” beyond the and I almost want to say poetic—moments on a human level. For two days (or Party of Austria (FPÖ) requested to ban begging in the inner city tourist areas in aspects and categories usually analyzed in urbanism. These “soft facts” can a total of three weeks together with on-site preparations), the congress Salzburg and Graz instead of address- be hidden agendas or potentials that need to be unveiled, as in “Paradise successfully interrupted the tragic helplessness and hopelessness. As one ing the underlying issues of begging. Enterprise”. {74} transparadiso conducted the research on-site, inviting young black woman said to a white academic from Baltimore: “I was born a slave, 72 See Paul Rajakovics and Barbara local residents to show their favorite places along the river Mur as the first you were born a master. How can we communicate?” And they went on to Holub, “Vacancies and Urban Reserves”, in Temporary Urban Spaces: Concepts step in rediscovering hidden potential. This research gave the expertise back have a long conversation, as did many others. for the Use of City Spaces, Robert to the local people—as in the next steps—and established the basis not just Temel and Florian Haydn (eds.), p.113–119, Birkhäuser, 2006. for developing the overall project but also for establishing communication on 4.3 AN OPEN TOOL AND STRATEGY CATALOG: FOR THE UNPLANNED an equal level. The soft fact of revealed hidden potential thus also resulted in The narratives produced by and in situations like that of the “First World 73 The concept of the Empty Field Consortium was derived from the the soft skill of building confidence. Congress of the Missing Things” exceed expectations. They cannot be fact that the Aspern Lake City has not Creating situations in which everyday users and residents are encour- planned. They cannot be evaluated. They are not “functional” in a measurable achieved its goals of attracting institu- tions such as the Vienna University of aged to take action, to take matters into their own hands, counteracts way. When discussing urban tools and strategies with decision-makers, there Technology or the Vienna University participation being used as a generic and often pseudo-democratic instru- is a recurrent interest in how to make them into something functional like a of Economics to Aspern, institutions which would have been major carriers ment. In these pseudo-participatory planning processes, representatives of “tool catalog”. Basically, there is nothing wrong with a tool catalog in the of identity and stimulated a mixed use. certain groups are singled out and involved in conventional urban planning sense of learning from experience, as long as the people who want to 75 For a detailed description of the 74 see p. 238 ff. processes in order to legitimize them. No further research is done on what the implement specific elements are aware of the need to adapt the tools and project, see p. 156 ff. in this publication.
44 Planning Unplanned 45 Barbara Holub Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Folke Köbberling/ Barbara Holub Zitate aus den Workshops des Symposiums „Planning Unplanned“, 2012 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Installation: Wandzeitung #13, Vienna, 2013 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Was braucht der/die gesellschaftlich engagierte KünstlerIn / der urban practitioner?
Wir müssen zwischen den verschiedenen “agents” und KulturproduzentInnen und ihren Rollen in der Kulturpolitik und Stadtplanung unterscheiden - anstatt sie als “kreatives Kapital” zu behandeln:
– Wie können KünstlerInnen und künstlerische Praktiken ihre kritische Stimme behaupten und (doch) gleichzeitig als gleichwertige Experten z.B. zu Stadtplanern oder Soziologen betrachtet werden?
– Wie können künstlerisch-urbane Praktiken dazubeitragen, neue gesellschaftliche Werte, die gemein- schaftliches Handeln propagieren, etablieren und damit einer von neoliberalen Entscheidungsprozessen geprägten Stadtplanung entgegenwirken?
Die Finanzierung dieser Prozesse muss unabhängig von „messbaren Resultaten“ erfolgen: – Wie kann man die Wirkungskraft von poetischen Momenten messen? – Oder die Auswirkung auf die persönliche Erfahrung der TeilnehmerInnen?
Die eigene Erfahrung ermöglicht neue Handlungsräume: Heraus aus der gefühlten Ohnmacht! Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO DOX Center for Contemporary Art / Prague (CZ), 2010 Windows on Madison/ Czech Center, New York, March/ April 2011 64th UN NGO/ DPI conference, Bonn, Sept. 2011 Salzburg Art Award, Galerie im Traklhaus, Salzburg, Sept./ Oct. 2012 First meeting of the Blue Frog Society, Vienna, Feb.29, 2012 The Polyphonic New Year’s Concert of the Blue Frog Society, Vienna-Aspern, Jan. 13, 2013 A State Visit to the Blue Frog Society by Minority Languages in Europe, CrossScetions, Vienna, 2018
Links to the Blue Frog Society:
World Council of the Peoples for the UN (WCPUN): http://wcpun.org/focus-areas/
Radio Praha: http://www.radio.cz/en/section/arts/future-of-the-future-exhibition-at-pragues- dox-seeks-to-go-beyond-established-conceptions-of-past-present-and-future
Ö1 Kunstradio: http://www.kunstradio.at/2010B/14_11_10.html
The Blue Frog Society - A Habitat Without Territory
2010 > The Blue Frog Society originates from the project „On urban periphery“ I realized in 2010 in Vienna Aspern Lake City, in the area of a former airport on the fringe of the city, where the largest new urban development area in Vienna was about to be started.
During my research I discovered a wild area next to the site, which seemed to be a remnant of forgotten times... Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 There I discovered the Blue Frogs, a species that obviously had resisted an urban development mainly driven by investors’ interests.
A species which believes in the qualities that had grown informally by the inhabitants, the neighbors, the users on the site of the new urban develop- ment for many years. Qualities, which they consider vital aspects – which were not considered in the masterplan. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 A species that had maintained social and communal values, striving for a new society which allowed for mistakes, for weakness, for poetics, for qualities of the unplanned – and for counteracting fear.
This was the point, when they organized themselves as the Blue Frog Society. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 # 1 Counteract governing principles of no-belief: make belief
Counteract governing principles of no-belief. Counteract the weakness of principles. Act instead of counteract. Act to make belief. Forget about what is considered fashionable or unfashionable. It is unfashionable to talk about (personal) lacks. It is fashionable to complain. It is considered naive to engage in issues beyond the personal wellbeing. It is unfashionable to not only talk about the lacks but to insist in the belief that fundamental change is needed. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Creating, Supporting, Collecting: New Values, New Commons
„Politics involve the production of the commons (not only the distribution), i.e.the production and reproduction of social relations and forms of life“. „Jacques Rancière defines the relation between politics and aestetics as a conceptual problem: artistic practices are possibilities of doing and acting, referring to the French notion of „le partage“ which involves partaking and sharing, both contributing to „common wealth“.“
Hardt, Michael (2009): Production and Distribution of the Common – A Few Questions for the Artist, in OPEN, 2009/16, NAI publishers Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub The Blue Frog Society | A Habitat Without Territory
64th UN DPI/ NGO conference on „Sustainable Societies, Responsive Citizens“ Bonn, Sept.3-5, 2011 in collaboration with Shamina de Gonzaga, WCPUN (World Council of Peoples for the UN) << >> The Blue Frog Society | A Habitat Without Territory 10 issues of The Blue Frog Society digital print on satin, embroidery in: Barbara Holub found, set, appropriated, 250 x 180 cm Verlag für moderne Kunst Nürnberg, 2010 2011
The Blue Frog Society claims a new habitat – a habitat without territory, not just as an idea, but as a messenger of a new future which was presented for the first time in New York on „Windows on Madison“/ Czech Mission to the UN, curated by Jaro- slav Andel for the Czech Center, 20111, in collaboration with the Austrian Cultural Forum, New York. At the 64th UN DPI/ NGO conference The Blue Frog Society will directly engage with the participants of the conference and invite them to contribute their ideas, desires, expertise from various angles and backgrounds as well as their critical input for building this community and discussing the future of a habitat without territory.2
Creating, Supporting, Collecting: New Values, New Commons The Blue Frog Society employs artistic strategies to investigate issues of territory and habitat that go to the very foundation of the dominant socio-economic sys- tem. It pushes the borders of the „possible“ to make space for the unplanned and unthinkable, emphasizing civic engagement and the need for common public space, linking the art context to society. This project also takes on a new understanding of „participation“ and „commons“, de- velopping an open ended process of acting, referring to the current political dimen- sion of new forms of commons, as Michael Hardt describes them: „politics involve the production of the commons (not only the distribution), i.e.the production and reproduction of social relations and forms of life“3. Jacques Rancière defines the re- lation between politics and aestetics as a conceptual problem: artistic practices are possibilities of doing and acting, referring to the French notion of „le partage“ which involves partaking and sharing, both contributing to „common wealth“4.
Therefore the BFS offers “shares” of the non-territorial habitat as a new form of collecting art: partaking in the development of the habitat and becoming part of a collective art project.
Barbara Holub (artist, studied architecture at the Stuttgart University of Technology, based in Vienna) founded transparadiso with Paul Rajakovics (architect, urbanist) in 1999 as platform in between architecture, urban design, intervention in the urban-public space, working on tools and strategies 1 Holub´s project addresses the issues of territory and habitat that go to the very foundation of the 20 years, “Aspern Lake City”, started. She carried out performative walks, investigating the potential of for direct urbanism. dominant socio-economic system, invoking the tradition that started with Hans Haacke´s Shapolsky the unplanned and of unplanning, of welcoming unforeseen elements and movements in society. Her goal Since 2001 member of the editorial board of dérive, magazine for urban research, Vienna (www.de- et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971, which still was to discuss both the potential of the neglected and conflict as driving forces for developing a multifac- rive.at). 2004 Schindler grant at the MAK Center for Art and Architecture, Los Angeles. 2006-2007 haunts the Guggenheim Museum located a few blocks from the Window on Madison. More recently, eted society beyond borders - and beyond false agreement and appeasement. president of the Secession, Vienna. Currently transparadiso is realizing a new city quarter in Salz- artists such as the Slovenian group Irwin or Ingo Gunther have created symbolic state territories, burg for which it was awarded the Otto-Wagner-Urban-Design-Prize in 2007. Since 2010 Barbara harnessing various institutional forms of the state authority such as passport, visa, embassy, stamp. In the show “The Future of the Future” (2010, DOX Centre for Contemporary Art in Prague), Holub Holub has been conducting the research project “planning unplanned_the role of art in the context of Holub’s project takes a different direction by raising the question of habitat in relation to our values, presented the Blue Frog Society (BFS) for the first time to the public with the “10 Issues of the Blue Frog urban development” at the Institute of Art and Design/ Faculty of Architecture, Vienna University of and thus foregrounding the interconnectedness of nature, culture and economy and our vital invest- Society”. (Excerpts from the press release by Jaroslav Andel for the Czech Center, 2011) Technology, where she is also lecturing. 2 www.transparadiso.com ment in it. This input will be presented right afterwards as part of the exhibition for the Artist Award of the Region Barbara Holub belongs to a growing number of architects and artists who explore broader social of Salzburg, for which Barbara Holub has been nominated. issues in their practice. Her Blue Frog Society project originated in 2010 when she investigated an 3 Hardt, Michael (2009): Production and Distribution of the Common_A Few Questions for the Artist, in The presentation of The Blue Frog Society at the 64th UN DPI / NGO conference is supported by the abandoned airfield and former racing track in Vienna-Aspern for her project “On the urban periphery” OPEN, 2009/16, NAI publishers WCPUN and the Ministry of Art and Culture of Austria. (with KÖR/ Public Art Vienna) – a wasteland/ urban void on the borders of Vienna, “before architec- ture” –before the construction site for the largest new urban development in Vienna for the next 4 ibid. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO The Blue Frog Society
The Future of the Future DOX Center for Contemporary Art Prag, 2010 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO # 2 Reassess vital issues like sustainability
Reassess vital issues like sustainability. Reassess vital issues. Avoid empty phrases. Susta- inability has become an empty word, a synonym for emtiness. How can it be filled with new meaning? Election periods and the need for immediate suc- cess prevent from long term thinking. Reassess vital issues like sustainability. Ask questions transgres- sing your imagination. What do you expect from an artist? What do you expect from yourself? Can an ar- tist contribute to sustainability? Yes we can. But we need you to come along. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO The Blue Frog Society_ A Habitat Without Territory
Windows on Madison (permanent Czech Mission to the UN) Czech Center, New York 2011 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO The Blue Frog Society_ A Habitat Without Territory
Windows on Madison (permanent Czech Mission to the UN) Czech Center, New York 2011 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO
Barbara Holub _TRANS-PARADISOBarbara - Praxis in Times of Dilemma_ Burg Halle, Giebichenstein/ 05.11.2018 eine künstlerisch-urbanistische
emblem“, democratic “the Badiou *Alain
their own existence* own their
the power of peoples over over peoples of power the
Sept.3-5, 2011 Sept.3-5,
democracy (literally) is: is: (literally) democracy
conference in Bonn, in conference
at the 64th UN DPI/ NGO NGO DPI/ UN 64th the at A Habitat Without Territory Without Habitat A
The BFS offers :free presents: Society Frog Blue The movement
without
borders Holub Barbara :maximum ......
instead of
minimum ...... needs/ longings ......
reconsider [and do not address and name hesitate] make truth out of the world for the world/ le monde
aristocratism for everybody*ambiguous beliefs contradiction in the habitat of the BFS(emotional) greed disdained in favor of new commons new values non-territorial of what poetics reinvent respect sharing social space thinking treasured
excerpts of the glossary of the habitat of the Blue Frog Society #3 Imagine the impossible (and work on it)
Imagine the impossible (and work on it). Imagine the impossible. And maybe it does not need so much work. Imagine the impossible. The impossible is personal. The impossible concerns society. We do not want to create a new utopia. Utopias also mean that so- mething needs to be destroyed. We do not wnat to destroy. We want to cultivate. The moment you read these words you dedicate yourself tot he possibility oft he impossible. This is what is needed. What you need. What society needs. All societies. Sharing the moment of the impossible. Sharing. The impossible always escapes. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO The Blue Frog Society_ A Habitat Without Territory
64th UN DPI/ NGO conference Bonn, 2011 on invitation by Shamina de Gonzaga/ World Council of Peoples for the UN Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Großer Kunstpreis des Landes Salzburg Galerie im Traklhaus, Salzburg 2011 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Polyphonic New Year’s Concert of the Blue Frog Society Vienna-Aspern, Jan.13, 2013 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Polyphonic New Year’s Concert of the Blue Frog Society Vienna-Aspern, Jan.13, 2013 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO A State Visit to the Blue Frog Society by Minority Cultures/ Languages in Europe
CrossSections_Intensities Kunsthalle Exnergasse, Vienna 2018 installation views
curated by: Basak Senova Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Speeches on the occasion of the State Visits were held in Friulan and Romanes by: Nancy Black, Selma Selman, Costanza Travaglini, Gabriele Zanello Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Wunschproduktion für den Porto Vecchio in Trieste
Team: Giuliana Carbi (trieste contemporanea), Betta Porro, transparadiso Veranstaltungen: _ 8th CEI Venice Forum for Contemporary Art Curators from Central Eastern Europe. HARBOUR FOR CULTURES: Palazzo Zorzi, Venice _ „Carte Blanche“ for H/C: studio tommaseo _ Ausstellung „Harbour for Cultures“: trieste contemporanea/ studio tommaseo _ „Shared values, ambulant gardens, and other spaces“/ workshop by transparadiso: Porto Vecchio, Trieste _ 8th CEI Venice Forum for Contemporary Art Curators from Central Eastern Europe/ HARBOUR FOR CULTURES, trieste session: Magazzino delle Idee, Trieste _ „The golden Poller“, transparadiso, Porto Vecchio, Trieste _TRIE/S/T/E, Haus der Architektur, Graz
Harbour for Cultures Trieste/ I, 2017-2020 trieste contemporanea (Trieste/A), HdA (House of Architecture, Graz/A) 19 16 11 08 2A
20 18 10 07 04 02
26 17 14 09 06 03 01A
27 25 24 21 01 3233 28 12 13 05 23
30
Porto Vecchio, Trieste, 230 ha Trieste: 235.700 Einwohner, 212 km² zum Vergleich: Aspern Seestadt / Wien: 240 ha Wien: 1,9 Mio Einwohner, 415 km² Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #4 Consider migration as enriching reality in all directions
Consider migration as enriching reality in all direc- tions. Consider migration as enriching reality in all direc- tions – and as basis of linving in the 21 st century. Ask for freedom of movement as human right. Free- dom of movement must be considered a basic human right. For all. No ifs or buts. No more excuses. Mobi- lity is forced onto us. But we want freedom of move- ment. We are in the position to ask for. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO 8th CEI Venice Forum for Contemporary Art Curators from Central Eastern Europe. HARBOUR FOR CULTURES.
12.5.2017 UNESCO Regional Bureau for Science and Culture in Europe (Palazzo Zorzi, Castello 4930), Venedig
Das 8th CEI Forum widmete sich dem H/C und stellte das Projekt im Rahmen der Preview der Biennale in Venedig, erstmals öffentlich vor:
Für das Symposium schufen wir ein spezielles Setting, in dem wir den Grund- riss des Porto Vecchio installierten.
TeilnehmerInnen des Symposiums beim Ausfüllen der Maps Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO „Carte Blanche“ für H/C fortlaufend seit Juli 2017 studio tommaseo, Trieste
Carte Blanche 26.10.2017
Die „Carte Blanche für H/C“ ist eine kontinuierliche Veranstaltungsreihe (geleitet von Betta Porro), in der die Carte Blanche jeweils einer ExpertIn aus verschiedenen Hintergründen in Trieste gegeben wird, um einen Abend zur Wunschproduktion für den Porto Vecchio zu gestalten und dazu weitere TeilnehmerInnen einzuladen. Das Resultat jeder Veranstaltung ist die Produktion eines gemeinsamen Plans mit Wünschen für den Porto Vecchio, der aus der Diskussion resultiert. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO H/C workshop: Shared values, ambulant gardens, and other spaces
28.10.2017 Porto Vecchio, Trieste
Michel Foucault explains the notion of the garden as the oldest example of heterotopias:
„Perhaps the oldest example of these heterotopias in the form of contradictory locations is the garden. Let us not forget that this astounding and age-old creation had very profound meanings in the East, and that these seemed to be superimposed. The traditional garden of the Persians was a sacred space that was supposed to unite four separate parts within its rec- tangle, representing the four parts of the world, as well as one space still more sacred than the others, a space that was like the navel, the center of the world brought into the garden (it was here that the basin and jet of water were located). All the vegetation was concentrated in this zone, as if in a sort of microcosm. As for carpets, they originally set out to reproduce gardens, since the garden was a carpet where the world in its entirety achieved symbolic perfection, and the carpet a sort of movable garden in space. The garden is the smallest fragment of the world and, at the same time, represents its totality, forming right from the remotest times a sort of felicitous and universal heterotopia (from which are derived our own zoological gardens).“ Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #5 Believe in what you dare to believe
Believe in what you dare to believe. Overcome self- censorship when necessary. Know when to listen to others and when not. We are few. We are many. Believe in what you dare to believe. The Blue Frog Society will help you to overcome your fear. Sometimes it is necessary to protect our thoughts. We have to act. Not now but time will come. Feel when the time is right. We do not need to protect ourselves from what we think but from what we do not think. Sometimes it is necessary to protect our thoughts. But now is the time to share our thoughts. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Wahl der Orte und Platzierung der Wünsche für H/C Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Die komplexen Wünsche für Harbour for Cultures
Ein Großteil der Wünsche sind emotionale/ poetische/ visionäre Qualitäten, die in unserem Leben ansonsten kaum/ keinen Platz haben, und die ein neues Denken von architektonisch-urbanistischen Programmen herausfordern:
Wünsche, die die Initiative jedes einzelnen erfordern: resistenza contemporanea, ufficio governativo del cambio di personalità, salotto di valore umano, ricercatorio del nuovo io.
Wünsche, die politische Werte hinterfragen: sala d’attesa per tiranni;
Wünsche, die konkretere Programme vorschlagen: sala di ballo / teatro, Cineporto, casa dei mestieri che non esistono più. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Shared values, ambulant gardens, and other spaces
Harbour for Cultures - eine kummulative Ausstellung
transparadiso 29.10./28.11.-29.12.2017 studio tommaseo, Trieste kuratiert von Giuliana Carbi
Ausstellungsansicht mit Videoprojektion Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO ein Versprechen für Umwertung vorhandener Potenziale für die Gemeinschaft - kurz danach wurden weitgehende Gebiete des Porto Vecchio abgesperrt und der Verkauf zentraler öffentlicher Immobilien wird nun über Auktionen angeboten Porto Vecchio, 2.1.2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO TRIE/S/T/E
HdA Graz, 2018
Harbour for Cultures Ausstellungsansicht mit dem Video „100 Desires for Harbour for Cultures“ > Ausschnitt aus Video Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO ein inklusiver “Kongress” als künstlerische Strategie
Barbara Holub / Visiting field of expertise: Direct Urbanism Social Design_Arts as Urban Innovation / University of Applied Arts Vienna mit: Elisabeth Stephan, Julian Verocal, Marie-Christin Rissinger
European Union National Institutes of Culture (EUNIC), and Baltimore Office of Promotion and the Arts (BOPA) „TRANSIT“ public art residency NEA - creative placemaking
The First World Congress of the Missing Things Baltimore, June 7-8, 2014
Social Design/ University of Applied Arts Vienna/ in collaboration with BOPA and Bromo Arts, Baltimore #6 Involve artists in decision making – and make artists transgress their borders
Involve artists in decision making. Involve artists in decision making – and make artists transgress their borders. You as an artist have to un- learn your boders, your limits. You have to unlearn the system. You have to get involved. Make use of the artists. You as an artist reconsider your function in society. Life is out of control. Out of our control. Would artists (as individuals) decide differently? The Blue Frog Society took the risk. Had to take the risk. And there was no reason to regret. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Baltimore (MD): 623.000 inhabitants (2014), 63,3 % African Americans, 28,3 % Whites (950.000 inhabitants in 1950, 24% African Americans) Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 tools andstrategies cannot betransferred ona1:1level – Beyond practice“: „Best (thus exempting these domainsfrom theirresponsibility) must not take– Art over responsibilities ofother domains inadirect doesnot fulfillway. expectations of – Art commissioningparties new societal values andinvolving larger societal aspects. integrated inalongterm perspective ofurbandevelopment introducing strategies are involved andartistic Ifart inurbanissues, they needto be cannot beaninterim solution– Art for neglected neighborhoods: thatproduce social andeconomic inequality. cannot resolve– Art larger societal problems stemming from systems National Endowment for the Arts): isnot aproblemsolverArt (referring to „creative placemaking“/ by program the NEA/ What can art not do not inthe context development? ofurban Tools undStrategien können nicht auf einer1:1Ebeneinandere Kontexte transferiert werden. – Jenseits von practice“: „Best (unddiese dadurch womöglich aus ihrer Verantwortung entlassen) – Kunst nichtdieVerantwortung darf für dieAufgaben anderer Domänenübernehmen der (sieheUmwertung Aufgabenstellung, des Erweiterung Kontexts, Verschiebung des Kontexts ) – Kunst keine von erfüllt Erwartungshaltungen Auftraggebern indirekter Weise langfristigePerspektive werden, diegesellschaftliche integriert Werte unddasGemeinwohl fördert. Wenn Kunst undkünstlerische Strategien inurbanissueswerden, involviert müssen diese ineine – Kunst kann keine interimistische Lösung sein: für benachteiligte Viertel ökonomische Ungleichheit produzieren (siehe „creative placemaking“/ National Endowment USA) for theArts, – Kunst kann keine gesellschaftlichen Probleme lösen, die aus Systemen resultieren, diesoziale und Was kann Kunst nicht tun imKontext tun von Stadtentwicklung?
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 > dannkann von anderen Kontexten mitähnlichen Fragestellungen gelernt werden. Der spezifische Kontext muss betrachtet werden: – Kunst kann poetische Momente schaffen - jenseitsdes Spektakels. enthüllen – Künstlerische Strategien undkünstlerisches Handeln kann verborgene Potenziale Situationen undeine„Umwertung“ dieser eröffnen. – Kunst imurbanen-öffentlichen Raum kann eineneue Perspektive auf vorhandene MicheldeCerteau) – Kunst kann ihre Rolle als„Extra“ inderGesellschaft(siehe„péruque“ nutzen / – Kunst kann fragenstellen, dieandere (so) nichtstellen Was kann Kunst tunimKontext von Stadtentwicklung?
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 BREXTON ST
N EUTAW ST
W EAGER ST LINDEN AVE BROMO W READ ST 17 18 MADISON AVE 16
PARK AVE TYSON ST 15 ARTS 19 21 W MADISON ST DRUID HILL AVE 20 12 N PACA ST N MARTIN LUTHER KING JR BLVD
N EUTAW ST 14 22 CATHEDRAL ST DISTRICT LINDEN AVE W MONUMENT ST
CULTURAL ASSETS 1. Bromo Seltzer Arts Tower ORCHARD ST 13 2. Baltimore Arena
3. EMP Collective SAINT MARY ST
ACADEMY AL 4. Hippodrome Theatre at the N HOWARD ST W CENTRE ST France-Merrick Performing Arts Center 11 5. Soulful Symphony PENNSYLVANIA AVE 6. Everyman Theatre W HAMILTON ST 7. Maryland Women’s Heritage Center 8. Sub-Basement Artist Studios 9. 14 Karat Cabaret 24 23 W FRANKLIN ST 10. Summa 25 10 12 Enoch Pratt 11. Downtown Cultural Art Center 26 27 Library 12. Current Space 13. Maryland Historical Society 28 9 11 14. Baltimore School for the Arts W MULBERRY ST
N PACA ST
N GREENE ST 15. Jordan Faye Contemporary 16. Eubie Blake National Jazz Institute 10 and Cultural Center 17. MUSE 360 9 Team 18. Dance Baltimore, Inc. W SARATOGA ST
19. ArteFactory Baltimore EUTAW ST N
20. Artstar Custom Paintworks PEARL ST Barbara Holub / Social Design_Arts as Urban Innovation / 21. Arena Players CLAY ST University of Applied Arts, Vienna 22. AT Jones & Sons Costume Shop Lexington with: Elisabeth Stephan, Julian Verocal, 23. Sophiajacob Market 24. Rock 512 Devil Project Space & Book Store Marie-Christin Rissinger 25. H&H Building CHICAGO AVE 8 7 26. Gallery Four W LEXINGTON ST and contributions by: 27. The Whole Gallery 8 MARION ST 7 Simone Klien (closing performance), Marit Wolters, 28. Fluid Movement HQ France-Merrick N LIBERTY ST VINE ST 13 Lucia Hofer (CI, logo, concepts for performances), 29. Westminster Hall & Poe Grave Site Performing Arts 30. National Museum of Dentistry Nika Kupyrova (piece on the issue „(un)balance) Center 6 W FAYETTE ST Edgar Allen RESIDENTIAL BUILDINGS (# units) 4 5 1. Inner Harbor Lofts (103) Poe Grave 2. Marlboro Classic & Redwood Square (191) 29 6 Collaborations 3. Camden Court (221)
4. The Redwood (151) W BALTIMORE ST 3 Priya Bhayana/ director of Bromo Arts District 5. The Abell Building (30) 5 2 Staycie Francisco / MTA 6. Avalon Centerpoint (392) Baltimore Brian Greenan / City of Baltimore 7. 39 West Lexington (182) W REDWOOD ST 8. The Atrium (173) University of 4 Arena Michael Benevento/ Current Space 9. Mulberry Court (62) Maryland Medical Nick Petr / Alternative Press Center Library 10. St. James Place (25) Center 11. 520 Park Avenue (171 units) - June 2014 30 3 HOPKINS PL S GREENE ST 12. M on Madison (74) 1 2 1 S HOWARD S
S PACA ST 13. Fayette Square (135) W LOMBARD ST BromoSeltzer
Arts Tower eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO
T
Howard Street undUmgebung
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Lexington Market – MTA station (nahe Howard Street)
> Ort des Congress Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Goals of the 1st World Congress of the Missing Things
1 Creating a non-hierarchical setting of a congress for public engagement: > for the people inhabiting that urban space (drug addicts, homeless, ex-convicts) > the content of the congress being produced by the people
2 Reflecting back the expertise and responsibility to the decision makers, politicians and people of Baltimore
3 Considering the project a starting point for a durational process: > develop programs and (social) infrastructure for the ones who inhabit the space > for a mix of people
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #7 Open up space for the unplanned
Open up space for the unplanned. Be aware of overregulations. Do not trust the belief in solution. Free yourself from the plan. From the overregulation of a plan. Free yourself from the expectation to have a plan. Look for developping a plan for unforeseen moments, for the pleasure of the unplanned. This is a threat. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Congress office im “current space”/ Howard Street
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Info-Tisch vor dem Congress im Lexington Market > Einladung “missing things” einzureichen Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Öffentliche Proben im Stadtraum um den Lexington Market > Ankündigung des Congress und Einladung “missing things” als Themen einzureichen Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Ode an die Bäume, die aus den zerfallenen Gebäuden herauswachsen Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 Logo “1st World Congress of the Missing Things”, in Baltimore
1st WORLD CONGRESS of the MISSING THINGS
Baltimore, June 7-8, 2014, 10 am–5 pm Schedule
C: 100 M: 100 Y: 0 K: 0 Sat, June 7
C: 5 M: 100 Y: 100 K: 0 9:30 opening ceremony: starting at Current Space walking to Lexington Market/ subway station 10:00 welcome and opening of congress: Priya Bhayana (director of Bromo Arts District) Andreas Pawlitschek (director of the Austrian Cultural Forum, Washington D.C.) Barbara Holub (artist, Vienna) 10:15 beginning of morning session 11:00 presentation of issue # 43 12:30 complementary lunch
13:00 beginning of afternoon session 15:00 presentation of issue # 43 17:00 end of day 1
Sun, June 8
10:00 beginning of morning session 11:00 presentation of issue # 43 12:30 complementary lunch
13:00 beginning of afternoon session 15:00 presentation of issue # 43 17:00 closing ceremony: performance by Simone Klien 17:15 handing over of the Charter of the Missing Things to the City of Baltimore / Brian Greenan with Anton Falkeis (University of Applied Arts, Vienna)
If you present an issue, please use the scarf and put it back, when you leave the table; the scarfs will be distributed at the closing ceremony on Sun, June 8, 5 pm.
This is an open and unmediated congress: please respect the opinions of others. eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO congress / day 1 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO congress / day 2 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Missing Things
walking around for candies 1 # 48 unmediated experience time keeping 2 # 49 generosity and simplicity redistribution of wealth 3 # 50 help as a disabled citizen in America peace is a need 4 # 51 a good Tex Mex restaurant good taste 5 # 52 benefits made available for the displaced / missing people (un)balance 6 # 53 a not over-regulated public space spaces free of fear 7 # 54 La Vida (life) children playing on their own 8 # 55 replace prevalent surveillance practices with affirmative, dialogic legalize access to vacant space 9 # communicative practices tax breaks for local and small businesses 10 # 56 free access to the high quality education allow DIY venues to continue DIY 11 # 57 tutors for children Americans daring to be political 12 # 58 wind and solar energy for our house swimmable Inner Harbor 13 # 59 more God jobs for adolescents to prevent them from creating violence 14 # 60 honest politicians affordable housing and living wages 15 # „site“-lines to history (sightlines) 16 # vibrant public life 17 # non-athletic public venue for aggression, unrelated to productivity 18 # celebrating in public space 19 # appreciation of manual work 20 # empathy, compassion, friendliness 21 # transparency in government 22 # homes for the homeless, food for the hungry 23 # a state‘s attorney who will prosecute killer cops 24 # recreation centers for the youth 25 # equal opportunity 26 # a government that‘s not for sale 27 # the 28th Amendment 28 # a subway that goes somewhere 29 # unbiased journalism 30 # green spaces, solar energy, good tasting city water 31 # tourist attractions that average people can afford to go to 32 # an overall plan 33 # olfactory perception 34 # functioning, contemporary & user-friendly infrastructure 35 # move jobs for ex-offenders 36 # programs for the ex-convicts and housing 37 # housing for the homeless 38 # fixing of the housing neighborhood 39 # better lighting on the streets of Baltimore 40 # safety awareness for the public 41 # honesty 42 # closing ceremony: food system that links people to local, seasonal produce 43 # The “Charter of the Missing Things” was handed over stop police brutality 44 # to the mayor of Baltimore functioning, contemporary & user-friendly infrastructure 45 # prescription drugs 46 # respect for the merchants 47 # Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO
1st World Congress of the Missing Things / Baltimore, Lexington Market „The title „Missing Things is certainly a great project name to use amongst a popula- tion where so much is missing! One of the most remarkable happenings in the world today is a white (non-color person) to stand on the side of the disinherited with truth and sincerity.“
(comment of a congress participant) Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Exploring the Congress of the Missing Things as an urbanistic method
Academy of Fine Arts Vienna // International Workshop-Week on Commons June 26, 2014 // conceived by Anette Baldauf and Stefan Gruber
UN NGO/ DPI conference, New York, Aug. 27-29, 2014 on invitation by Shamina de Gonzaga/ World Council of Peoples for the UN (WCPUN) presentation of the 1st World Congress of the Missing Things in a workshop
A Revolution Without Movement, tranzit.sk, Bratislava, Oct. 2014 curated by Berit Fischer
2nd World Non-Congress of the Missing Things, Vienna / Aspern Urban Lake Side, Oct. 2014 Barbara Holub with Social Design students of the University of Applied Arts Vienna
Workshop–walk on „Missing Things“, Ural Industrial Biennial/ Ekaterinburg, Oct. 2017 in the frame of the International Forum, curated by Dmitri Bezoglov Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO 2nd World Congress of the Missing Things Vienna / Aspern Urban Lake Side, Oct.2014 Missing Things organized by Barbara Holub in collaboration with Social Design/
University of Applied Arts Eine Sanddüne für die „Frau in den Dünen“ # 1 a sand dune for “the woman in the dune” Wohnungen für queere Asylwerber # 2 flats for queer asylum seekers Dialog mit den Arbeitern von General Motors # 3 a dialogue with the employees of General Motors Reanimierung der fahrbaren (mittlerweile bereits ausrangierten) # 4 reanimating the discarded art objects, showing the half life period Kunstobjekte, die die Halbwertszeit von Kunst zeigen of art. Seeschwalben # 5 terns Eine chinesische Glückskatze # 6 a chinese lucky-cat Die Überraschung # 7 the surprise Der nahtlosen Übergang zwischen „Stadt“, Baustelle und # 8 the seamless transition between city, construction site and „Gstettn“ “Gstettn“ Der Hügel am nördlichen Seeufer # 9 the hill at the northern lakeshore Das Flederhaus # 10 the “Flederhaus” Die Aussichtsplattform # 11 the observation deck Neue Wege suchen # 12 searching new ways Der sich verändernde Horizont # 13 the changing horizon Cricketspieler aus fernen Landen # 14 cricket players from distant land Der maßgeschneiderte Blindenweg aus speziellen Pflanzkübeln # 15 the tailored pass for blind people, made out of special planters Der Erdkeller # 16 the earth cellar Platz für experimentelle Architektur # 17 space for experimental architecture Keramikbrennofen mit Holz befeuert # 18 Ceramic kiln, fueled by wood Mongolische Jurte # 19 mongolian yurt Aufbruchstimmung # 20 “Aufbruchstimmung” // pioneer spirit Sich besonders fühlen # 21 to feel special Die wilde Flora # 22 the wild flora Ein Ankunftszentrum für Roma # 23 an arrival center for Roma Der See der Namenlosen # 24 the lake of the nameless Preisverleihung für die Realisierung von 50 Stellplätzen (anstatt der # 25 award ceremony for the realisation of 50 parking spaces (instead geplanten 550) im Südteil of the planned 550) for the Southern part Die Baustellenkantinen # 26 the construction site canteens Die Nutzung einzelner Freiflächen nach Arbeitsschluss durch die # 27 the use of vacant spaces by construction workers after work Bauarbeiter Bitte liebt Aspern! # 28 please love Aspern! Die Bernhardiner-Allee # 29 the Bernhardiner-Allee Die riesigen Koi-Karpfen # 30 the huge koi-carps Die „Verwilderung“ und Sukzession einiger jetzt noch # 31 the wilderness of still fallow areas, and the seasonal changing brachliegender Flächen und Bereiche, die einige sehr interessante structures of color and plant resulting from the lack of care jahreszeitliche Farb- und Pflanzstrukturen erkennen lässt, die aus der „Nichtpflege“ resultieren. Die menschenleere Stadt # 32 the deserted city Container # N containers Lärm # N noise Analoge Kommunikation # N analog communication Der Fußabdruck des Flughafens # N the footprint of the airport Spiel von Licht und Schatten auf der Baustelle # N light and shadow situation at the construction site Queere Räume # N queer spaces Napoleons Rückkehr nach Aspern # N Napoleon‘s return to Aspern # N # N Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO
2nd World Non-Congress of the Missing Things / Wien, Aspern Seestadt Workshop/ walk of the Missing Things Ekaterinburg, Oct.2017 Ural Industrial Biennial/ International Forum Sennaya Square
Приглашаем отправиться на семинар-прогулку вместе с архитектором Барбарой Холуб (transparadiso) и Дмитрием Москвиным (куратором Университета биеннале)
22 ОКТЯБРЯ В 13:00
ОТ КОРПУСА УРФУ НА КУЙБЫШЕВА, 48 И УЗНАТЬ, ЧТО ТАКОЕ СЕННАЯ ПЛОЩАДЬ *Прогулка займёт приблизительно 2.5 часа. приблизительно займёт *Прогулка Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Għana-Dialoge - Diskussion aktueller Konfliktthemen der Gesellschaft über einen traditionellen Gesang transparadiso Texte: Jean Paul Borg, Jo Burden, Immanuel Mifsud Għana-Dialoge: Għannejja-Rapper Rachelle Deguara, and Għannejja: l-Bukku Vince, Angelo Theuma, Mikelina, Josmick Agius Performer: Għannejja: Il-Bukku Vince, Angelo Theuma, Maria Aguis ‚Oħt iż -Żebbuġin‘, Josmick Agius, Rachelle Deguara Gitarristen: John Saliba, Victor Grech, Frans Cash, Ruben Schembri
Times of Dilemma Valletta 2018/ Europäische Kulturhauptstadt Malta eine urbane Intervention für “The Island is What the Sea Surrounds” (kuratiert von Maren Richter) Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018 March 15, 2017
Manoel Island developers Midi have applied to install extensive temporary fencing around most of the island, six months after protests forced the company to open up limited access to the island’s foreshore.
The development application, published by the Planning Authority this month, will enclose most of the island behind 2.2-metre-high mesh, leaving one accessible route open to the foreshore.
The move has drawn objections from the Gxira local council and NGOs, but the company said yesterday it would allow for full public access to the foreshore, currently limited to weekends.
In its objection to the Planning Authority, however, NGO Friends of Manoel Island argued that Midi had no legal authority to put up the fencing.
This is because, according to the terms of the 99-year concession granted to Midi to develop Manoel Island, it is the government, not the consortium, that can prohibit public access – and then only to allow the development of the site.
Works on a planned ‘Mediterranean village’ by Midi – including residences, commercial outlets, a hotel and casino – have so far been limited to restoration efforts at Fort Manoel and other historic buildings. https://www.timesofmalta.com/articles/view/20170315/local/midi-plans-fencing-on-manoel-island.642426 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Haus der Ghannejja Zeppi Spagnol und Rose, Zejtun, Jan. 2017
Ta‘ Ghanna Bar, Zejtun, Juli 2017 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #8 Step beyond pragmatics – insert poetic moments
Step beyond pragmatics. Step beyond pragmatics – insert poetic moments. Step beyond pragmatics – insert poetic moments in the everyday. Take a detour once in a while. Take a detour especially when driven by anger. Take the elevator to the last floor and then walk downstairs to your floor (see Georges Perec). Say hi to people on the street in the city and remember the „Miracle of Milano“ by Vittorio de Sica. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Workshops, Juli 2017 Die Beiträge basierten auf den folgenden Fragen
what I miss what I am afraid of losing what I find problematic what I treasure what I am proud of what I want to change. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Analoge Kommunikation, Bocci Klub, Dez. 2017
Ghannejja im Bocci Klub, Dez. 2017 Besprechung mit Ghannejja und AutorInnen, Exam Centre, Valletta, Dez. 2017 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #9 Claim the unfunctional – unfunction your life
Claim the unfunctional – unfunction your life. Claim the necessity of unfunctioning. Unfunctioning creates new perpsectives. Some exercises might help you. Unfunctioning needs tob e trained. Exer- cises (after Georges Perec) might be helpful: „Note down what you can see. Anything worthy of note going on. Do you know how to see? What’s worthy of note? Is there anything that strikes you? Nothing strikes you. You don’t know how to see. You must set about it more slowly, almost stupidly. Force yourself to write down what is of no interest, what is most common, most obvious, most colorless.“ What seems to be meaningless will develop new meaning – the value of unfunctioning. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Times of Dilemma - Ausschnitt aus Dialogen Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO Proben, März 2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO St.Michael‘s Counterguard/ St.Roche
315 meter 315
Manoel Island
Erste Performance, 25. März 2018 Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO #10 Use conflicts as a potential
Use conflicts as a potential. Use their complexity. Use your complexity. Use the potential of a conflict for creating a situation. Use the potential of a potential conflict for creating a situation. The conflict of the potential asks for simplicity. Reduce your complexity. Be simple. Think simple. Mistakes are not allowed. Be strong. Look into the mirror (in the morning). Allow yourself to make a mistake. Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Giebichenstein/05.11.2018 Dilemma_ Burg Halle, Praxis in Times of - Barbara Holub _TRANS-PARADISO > Video: 2.Performance, 30.05.2018
Barbara Holub _TRANS-PARADISO - eine künstlerisch-urbanistische Praxis in Times of Dilemma_ Burg Giebichenstein/ Halle, 05.11.2018