2038 - The New Serenity. Pavilion of Germany at the Biennale di Venezia

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Encargo
Bundesministerium des Innern, für Bau und Heimat (BMI).
Exhibitors
Leo Altaras, Blaise Agüera y Arcas, Diana Alvarez-Marin, Andrés Arauz, Arts of the Working Class (Alina Kolar, Maria Ines Plaza Lazo, Paul Sochacki), Mara Balestrini, Sandra Bartoli, Diann Bauer, Jan Bauer, BBSR, Tatiana Bilbao, Lara Verena Bellenghi, BMI, Oana Bogdan, Erik Bordeleau, Mohamed Bourouissa, Jakob Brandtberg Knudsen & Lorenz von Seidlein, Francesca Bria, Loren Britton, Agnieszka Brzezanska, Vera Bühlmann, Bureau N (Inga Krumme, Katharina Neumann, Silke Neumann, Caroline Wolf), Benjamin Burq, Marina Castillo Deball, Vint Cerf, CFK Architetti (Martin Weigert), Cinema Key (Marco Fantacuzzi), Kristof Croes, Joana de la Fontaine, Elke Doppelbauer, Keller Easterling, Tobia de Eccher, Ludwig Engel, Joao Enxuto & Erica Love, ExRotaprint (Daniela Brahm and Les Schliesser), Manuel Falkenhahn, Jan Fermon, Cosimo Flohr, Foreign Legion (Matylda Krzykowski and Vera Sacchetti), Yona Friedman, Renée Gailhoustet, Jan-Peter Gieseking, Google Arts & Culture (Klaus Teuschler), Avital Greenshopn, Dorothee Hahn, Helene Hegemann, Holger Heissmeyer, Angelika Hinterbrandner, Fabrizio Hochschild Drummond, Ludger Hovestadt, Pan Hu, Jennifer Jacquet & Becca Franks, Jonas Janke, Mitchell Joachim, JUNG, Sonja Junkers, Roberta Jurčić, Claudia Kessler, Goda Klumbyte, Gábor Kocsis, Ferdinand Knecht, Sénamé Koffi Agbodjinou, Ulrich Kriese, Philipp Krüpe, Lukas Kubina, Nikolaus Kuhnert, Phyllis Lambert, Samira Lenzin, Lawrence Lessig, Cédric Libert, Ferdinand Ludwig & Daniel Schoenle, Suhail Malik, Charlotte Malterre-Barthes, Renzo Martens, Hilary Mason, V. Mitch McEwen, James Meadway, Roman Miletitch, Omoju Miller, Evgeny Morozov, MOTIF (Kathrin Fritsch, Helene von Schwichow, Diana Kozachek), Motor Productions (Severin Bärenbold), Caroline Nevejan, Bahar Noorizadeh, Sabine Oberhuber & Thomas Rau, Jorge Orozco, Verena Otto, Shwetal Patel, Wong Ping, POLIGONAL (Christian Haid, Lukas Staudinger), Joanna Pope, Christian Posthofen, Alessandra Quattrini, Leif Randt, RAUE Partnerschaft von Rechtsanwälten und Rechtsanwältinnen, Rebiennale (Giulio Grillo), Kim Stanley Robinson, Denis “Jaromil” Roio, Raquel Rolnik, Meghan Rolvien, Juliana Rotich, Belle Santos, S.a.L.E. Docks, Saygel Schreiber & Gioberti (Attila Saygel), Clemens Schick, Ivo Semenitsch, Patrik Schumacher, Jack Self, Max Senges, Deane Simpson, space-time.tv (Carl Berthold, Holger Friese, Max Kossatz), Jonas Staal, Bruce Sterling, Michael Stöppler, Lia Strenge, Audrey Tang, Tecnoservice (Pierro Zennaro), terra0 (Max Hampshire, Paul Kolling, Paul Seidler), The Laboratory of Manuel Bürger (Manuel Bürger, Simon Schindele), Cassie Thornton, Jeanne Tremsal, Galaad Van Daele, Iris van der Tuin, Marcus Vesterager, Vitra, Julian Wäckerlin, Eyal Weizman, Julia Werlen, E. Glen Weyl, WHY Ventures (Floris Dreesman, Marie-Charlotte Schmidt), Mark Wigley, Anna Yeboah, Vanessa Yeboah, Erez Yoeli, Marco Zambrano, Tirdad Zolghadr.
Dates
May 21 to November 21, 2021.
Venue / Address
At the 17th International Architecture Exhibition La Biennale di Venezia. German Pavilion in Giardini, Venice, Italy.
Photography

Arno Brandlhuber Brandlhuber+

Brandlhuber+ is an architecture office dedicated to the idea of collaboration with other practices, disciplines, and individuals. It was founded by Arno Brandlhuber in 2006. Arno Brandlhuber works as an Architect and Urban Planner. He studied Architecture and Urbansim at the TU Darmstadt and the Accademia del Arte in Florence.

From 1992 on he initiated several project- and office partnerships. During this period numerous projects and publications were realized, including the projects Neanderthal Museum (Mettmann, 1996), Kölner Brett (Cologne, 2000), and Crystal (Copenhagen, 2006). In 2006, he founded Brandlhuber+ as an architecture office dedicated to the idea of collaboration with other practices, discplines, and individuals.

Expanding on the idea of collaboration, he started the ongoing practice of Brandlhuber+ Emde, Burlon with built projects such as Brunnenstrasse 9 (Berlin, 2009), the Antivilla (Krampnitz, 2014), and St. Agnes (Berlin, 2015); currently working on LoBe, a mixed use housing project in Berlin, and a private art collection. Furthermore he is collaborating with Muck Petzet, working on the Tacheles project; Christian Kerez & Muck Petzet working on the Spreestudios; Michalski&Wagner on projects in Sicily and Sam Chermayeff on projects in Berlin.

Arno Brandlhuber taught at several universities and colleges. From 2003 to 2017, he held the chair of architecture and urban research at the Academy of Fine Arts, Nuremberg and directed the nomadic masters program a42.org. In 2017 Arno Brandlhuber was named professor of architecture and design at the ETH Zurich, where he teaches and researches new methods of architectural production and representation in architecture and media, through the tool of TV.  He was a guest professor at several universities including TU Vienna, Harvard Graduate School of Design and others.

Besides his building practice he is researching the transition of spatial organization and production in German history, focusing specifically on the Berlin Republic. As part of this research he put on several exhibitions and publications including „Von der Stadt der Teile zur Stadt der Teilhabe“, „The Dialogic City: Berlin wird Berlin“ and others.  

In recent years Arno Brandlhuber’s practice has been dedicated to the idea of legislation in architecture as a main factor for the built environment. This mindset resulted in ongoing investigations, both built and theoretical, such as the ARCH+ issue titled Legislating Architecture and the 2016 film Legislating Architecture, made in collaboration with director and film maker Christopher Roth.
Together they formulated the second chapter The Property Drama which premiered at he 2017 Chicago Architecture Biennial. The film provoked a vivid political discussion resulting in an ARCH+ issue on the topic of property and land tenure, as well as an travelling-exhibition starting in November 2018 at the V-A-I.

His work was exhibited at the Venice Architecture Biennale in 2004, 2006, 2008, 2012 & 2016.

Olaf Grawert

Olaf Grawert plans, writes and talks about architecture. He lives and works between Berlin and Zurich.

Since 2015 in alternating collaborations with ARCH+ Zeitschrift für Architektur und Urbanismus, Brandlhuber+, MakeCity Berlin, Christopher Roth and many others. In his work he deals with the economization and marketing of space and possible strategies for the re-popularization of architecture.

Together with Arno Brandlhuber and Christopher Roth he worked on the films The Property Drama (2017) and Architecting after Politics (2018) as well as the touring exhibition Legislating Architecture – Architecting after Politics, which premiered at the VAI Dornbirn in autumn 2018 and since then is traveling through Europe.

Grawert was a guest lecturer and speaker at various universities and colleges, including the Joint Master of Architecture Suisse, the Accademia di Architettura Mendrisio, the Hong Kong School of Architecture and the TU Vienna. Since 2017, he has been a research assistant at ETH Zurich, where he has set up and operated the architecture online TV station+ together with Arno Brandlhuber and Christopher Roth.

Nikolaus HIRSCH

Nikolaus Hirsch is an architect, curator, editor, and educator. Since autumn 2020 he is the Artistic Director of the architecture museum CIVA in Brussels, and previously was the Dean of Städelschule and Director of Portikus in Frankfurt.

He has taught at the Architectural Association in London, Institut für Angewandte Theaterwissenschaften at Giessen University, HfG Karlsruhe, Penn University in Philadelphia, and Columbia University in New York. His architectural work includes the award-winning Dresden Synagogue, Bockenheimer Depot Theater (with William Forsythe), unitednationsplaza (with Anton Vidokle), Cybermohalla Hub in New Delhi, and “Do We Dream Under The Same Sky“ (Art Basel, LUMA Arles).

Hirsch curated numerous exhibitions at Portikus, and „ErsatzStadt“ at Volksbühne Berlin (2005), “Cultural Agencies” (Istanbul, 2009/10), “Folly” for the Gwangju Biennale (2013), “Housing Question” at the HKW in Berlin (2015).

He is the author of the books “On Boundaries” (2007), "Institution Building" (2009), “Cybermohalla Hub” (2012), co-editor of the Critical Spatial Practice series at Sternberg Press and co-founder of e-flux architecture.

Photography by Armin Linke.

Christopher Roth

Christopher Roth is a film editor and director born on June 26, 1964 in Munich, Germany. His practice may be best understood as a kind of proactive intellectual scholarship that combines the factual and fictitious, with both analytic and poetic qualities. Roth’s work seeks to understand how information, words, pictures and ideas are received, travel and are mediated at a constantly accelerating pace. Since the 1990s, Roth has focused on the “emptiness” of single images and certain generic imagery that surround us. These images only accrue meaning in context—a function easily manipulated by the mass media. This knowledge — acquired and practiced as an accomplished film editor and director of feature films, and given theoretical underpinnings by his engagement with cultural history and philosophy—informs his entire practice. His major research project 80*81 with Georg Diez, for example, sought to reconstruct events in the period from January 1980 to December 1981 as evidence of important paradigmatic cultural and historical shifts. These were chronicled in eleven books assembled from contemporary images and texts, and interviews the authors undertook with contemporary witnesses, filmmakers and philosophers (among others). In addition, the project was presented at elaborately staged congresses and theater performances. Roth’s films also excel at channeling a characteristically voracious intake of images and ideas, giving them a visual equivalent without imposing an order, which he considers arbitrary by definition. Instead, his work relies on an active, engaged audience to draw its own inferences. Since the early aughts, projects increasingly experiment with the dissolution of linear time, posing an entirely fluid concept of past, present and future: fictionalizing the past (Baader, 2002), re-creating the future (Mozartbique, 2007–13, with Franz Stauffenberg), looking back from the year 2081 (2081 and 80*81, 2010–13, with Georg Diez), or reconstructing in 2026 the formation of a philosophical discourse that has since radically altered the world (Hyperstition, 2016, with Armen Avanessian).

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