PROGRAM 2004 (MAY 27–OCTOBER 24, 2004)
ART, ARCHITECTURE, DESIGN, CAFÉ

During the entire season 2004 John Bock's outdoor installation Video Beam Box is shown at Magasin 3 Projekt with a large selection of John Bock's film productions from the last years.

John Bock was born 1965 in Gribbohm, Germany. He works with performance and is based in Berlin. His actions, or lectures as he sometimes calls them, occur in worlds that he himself builds using simple architecture and everyday objects that function as props in the actions. He takes part in the installations he creates, sometimes together with the public, and he is constantly developing his own language, both in speech and movement. This results in sentences such as "The existential macro existence radius is determined in the positivist snowy expanses of saying yes."

At the beginning of the 1990's Bock's work consisted largely of so called lectures in which he often used marketing diagram flow charts filled with neologisms and material that no company's conference room has ever seen. There was clearly a link to economics, which is in part explained by the fact that Bock has a degree in the field. Later his performances have developed with larger and more elaborate stages, costumes and texts related to fields other than economy. Many performances have focused on fashion entirely. Theater has also started to play a larger role in his work. In the summer of 2003 the piece Zero Hero was shown at the Bavarian State Theater. A central part of Bock's work is that his performances are filmed and that these films are integrated as parts of installations. During the last years many of his films have developed into entirely freestanding works where no public performance has taken place.

In the year 2001 John Bock was part of the exhibition Free Port at Magasin 3 Stockholm Konsthall with the site specific work "Im AtomalterzinzKonflikt mit einer EierstockCapitalSaint" which is now part of the collection of Magasin 3 Stockholm Konsthall.

Video Beam Box was shown at Documenta 11 in Kassel 2002, but the film program has been largely extended at Magasin 3 Projekt. For the filmprogram of the day in the Video Beam Box please see the separate information sheet in the café of Magasin 3 Projekt.

The French product designer Matali Crasset has designed the interior of Magasin 3 Projekt for this year's program. She has created a space where the visitor can take the time to discover the exhibitions and have a drink. It consists of an informal bar and cushion seats reminiscent of bales of hay, made with images of drinking straws in bright, acid colors. It's a bar where you can construct your own space, make piles, or create a cozy atmosphere, build a sofa by the wall. "A space to recover the spirit of our childhood, when we made shelters and tunnels in the barn in the countryside."

In her exhibition, she displays objects and furniture from her output over the years. This is done as if in a living room where she also has created furniture out of panels from the actual exhibition room. She plays with the relation between the spaces of exhibition and domesticity. The visitor is invited to view the objects on display as the everyday objects they in fact are.

Matali Crasset was born in 1965 in Châlons-en-Champagne in the French countryside. After graduation from the E.N.S.C.I., Paris, in 1991, she participated in the Milan Triennial with her project Domestic Trilogy. It comprised a set of three appliances diffusing "warmth (whispers and intimacy), light (images and memories), and water (scents and swirls)." She then stayed in Milan to work with Denis Santachiara on architecture and design projects. Once back in Paris, she began working with Philippe Starck at the Agency and for Thomson Multimedia, where she stayed five years and became head of Thomson's design centre, Thim Thom. In 1998, Matali Crasset founded her own company in Paris.

Since then, she has worked on projects with numerous clients, including Artemide, Authentics, Cristal Saint-Louis, DIM, Domeau & Perès, Dornbracht, Edra, LaCie, Orangina and Ricard. Crasset has also worked on a number of her own exhibitions and exhibition design for different clients. She has designed the interior for the Paris-based advertising firm Red Cell and more recently the interior design of the hotel Hi in Nice.

Matali Crasset's design can be thought of as reflections on domestic and urban rituals and on the domestication of technology. Observations and thoughts about the user's relation to objects and environments inspire her to create objects, furniture, graphics, interiors, and exhibitions. One of her most famous product, that clearly describes her approach, is Quand Jim monte à Paris (when Jim comes to Paris). It's a sleeping kit for unexpected guests that consists of a mattress, an alarm clock and a reading light. When it's not used it folds up to a column. Together with the light it creates a functional object in itself, which also does not take up unnecessary space. Matali Crasset continuously develops experimental projects like this to explore new directions.

http://www.matalicrasset.com

For the 2004 season, Dutch designer duo Maureen Mooren and Daniel van der Velden have created a completely new graphic profile for Magasin 3 Projekt. Inspired by the park setting, it centres on foliage, images and text, in a play with phenomena such as junk mail, information overflow and camouflage, generating vibrant patterns as a visual representation of Magasin 3 Projekt.

Magasin 3 Projekt is now featuring an exhibition on the Dutch architectural publication Archis, designed by Maureen Mooren and Daniel van der Velden since 2001. The exhibition shows the designer's work of contemporary, innovative graphic design and gives an inside view of their approach.

At first glance, Archis could appear chaotic, difficult to grasp and full of indecipherable visual references. But this magazine shows how graphic design today is searching for its limits, transforming an established product (in this case an architectural magazine) into a veritably new medium. With its daring approach, Archis has been changed radically from the inside out from the editorial work and visual design, to how readers can absorb the content and "use" the magazine. Here, graphic design has definitely taken the step from a subordinate presentation of contents to an active contributor to the totality.

In some ways, this is fairly straight-forward, according to Maureen Mooren and Daniel van der Velden: the magazine has five main sections, including features, in-depth articles, project presentations and reviews. All these are visually separated by an introductory page representing an office folder filled with contents. Each section has its own identity, appropriating the layout of other magazines and newspapers. 'Politics', for instance, can sometimes be modelled on Time Magazine, while 'Dossier', which features various architectural projects, may take its identity from the Italian architecture and design magazine Domus. This is clearly stated in the inner margins, along with the headline, author's name, etc. Lastly, the pages are perforated in various ways, so they can be torn out, parts of them serving as independent information carriers, like flyers.

On another level, it's not quite as simple. The idea behind the radical transformation of the magazine was that Archis should not merely stimulate cultural debate but participate more actively in it and be an instrument, both literally and figuratively. The design encourages involvement and interactivity, for instance by leaving space for private notes, or prompting readers to contact the authors, for instance by using the attached prepared fax sheets. The perforated pages also encourage readers to organise and use the material in different ways. The designers also add a kind of visual 'white noise', made up of images, messages and visual references alongside the actual contents, which also influences the way we read and absorb the information in the magazine. Together, the appropriations, the 'white noise'and the parallel levels of information give the magazine a unique, idiosyncratic function, style, atmosphere and identity.

The design of Archis is an ambitious attempt to challenge perceptions of what graphic design is, and to present a new approach to information and the role of design in this context. Archis is provocative and demanding, but also appealing and engaging. It is a publication that resembles no other, and is definitely an example of transcendent and innovative design at its best and most interesting.

Maureen Mooren and Daniel van der Velden are graphic designers based in Amsterdam. Their studio practice that, started in 1998, focuses on editorial intervention, writing and authorship, interactivity and visual innovation. The rather utopian agenda behind their projects is informed by the desire to create works that are interesting to the user on many different levels and are inherent statements about the role of information and information overload in our lives.

Works by Maureen Mooren and Daniel van der Velden include invitations for the exhibition space ROOM, publicity material for arts centre Marres, newsletters for gallery Jan Mot in Brussels, publications for Droog Design and a corporate identity for Dutch government think tank Infodrome. With artist Manon de Boer, they designed and co-authored the novel Oscillations in 2000/2001, published by La Lettre Volée in Brussels. In 2004, the studio has made ten different stamps commemorating the extension of the European Union on May 1, commissioned by TPG Post. In the course of 2004, Maureen Mooren and Daniel van der Velden will work on projects with artist Haegue Yang and De Appel, centre for contemporary art, in Amsterdam.

Next to their commissioned design work, Maureen Mooren and Daniel van der Velden write about design and culture, they organize discussions and debates, and initiate their own projects including a national identity for the mini-state Principality of Sealand, executed in collaboration with a design research team at the Jan van Eyck Academie, Maastricht.

For the identity and communication of Magasin 3 Projekt, Maureen Mooren and Daniel van der Velden are collaborating with Rotterdam-based interaction designer Maurits de Bruijn.

Zoe Smith and Graeme Williamson from Block Architecture in London have participated in redesigning Magasin 3 Projekt for the 2004 season. Using transparency and mirror effects, they have created a temporary new façade for the old building at Djurgårdsbrunn in Stockholm.

The façade is made of a 4 meter high vertical louvered fence surrounding the exterior of the building. The fence is made of timber post's on one side lined with mirrors. The mirror will distort and reflect the image of the park and sky onto the surface of the building whilst the spacing between each post allows the form of the building line to remain. The overall effect of this is that the building begins to de-materialise and disappear into the landscape.

Throughout October, Magasin 3 Projekt will stage an exhibition with these two young British architects. Based on their thoughts around the city as a phenomenon and source of inspiration, they will be presenting a number of projects that give a deeper insight into their work and approaches.

The work of Block Architecture spans from new developments and redevelopments of private residences, bars and restaurants, shops and other commercial premises, to self-initiated experimental development projects, exhibitions and installations. They aim for an architecture that is immediate and uncomplicated, applying familiar or general experiences to generate solutions. References to the ordinary and urban culture are essential components. "The city constantly informs what we do, we borrow from it, re-constituting parts, materials, objects, interactions in new or unexpected ways to make vital the elements which construct our environment."

Their projects develop from observing the site and context, resulting in an architecture that says something on different levels. Their design for the Klinik hair salon in London was based on utilitarian aspects but resulted in an environment that lends a new dimension to a visit to the hairdressers. Zoe Smith and Graeme Williamson used appliances, materials and details that open up the visitor's eyes to this apparently ordinary event. Instead of mirrors, they used CCTV and monitors in their extreme hospital aesthetic. As visitors see themselves from outside, they are reminded of how the self relates to one's appearance. The visit to the hairdresser can be experienced as a cosmetic surgical operation or as a visit to a therapist.

The private residence Treehouse is on the top floor of a building and has a completely open plan. To keep the space open they created a space formed as a cantilevered bed platform in the centre of the space. This created enclosure without the need for a separate room and a space associating to children's tree houses: a secret hideout, a hidden place for independence, solitude, play, creativity and perhaps the first kiss. The Grand Central Bar, on the other hand, is characterised by its location at an intersection with heavy traffic in east London. In a way resembling the exterior redevelopment of Djurgårdsbrunn, the Grand Central interior was created to let the surrounding dynamic urban bustle influence the design of the space. Photos of streets with cars, taken with long exposure times, were laminated in acrylic and used to build the walls. The lighting consists of a system of openly revealed electric standard components that cover the ceiling like a flowchart or underground map. The reflective material attached to the facade mirrors the traffic lights and car headlights, thought-provokingly adding to the bar's interaction with its setting.

In another project, the recently completed Tokyo boutique for fashion designer Hussein Chalayan, Block Architecture have extended their references to include global and multicultural aspects. One part of the boutique, furnished with old chairs from Cyprus, is used for film screenings, evoking an outdoor cinema, while the floor at the entrance is tiled in the pattern and colours of a traditional Backgammon board. Here, the idea for the design was triggered, among other things, by the ethnic background of the fashion designer, cultural shifts, travel and other migrations.

Zoe Smith and Graeme Williamson believe that architecture should be accessible and relevant to culture. It should invite enquiry from, and engagement with, the people that use and interact with it. By using the location as their starting-point, and incorporating references to history and urban culture, they create architecture that everyone can relate to. Their approach is often direct, but the result is never devoid of feeling or commitment, and often conveys an underlying poetic, not to say romantic, dimension.

Block Architecture was set up in 1997 by Zoe Smith and Graeme Williamson (originally known as 24/seven design). Apart from the work described above, their long list of completed commissions includes: ICA Bar, Market Place Bar in London, a loft apartment in New York, the refurbishment of The Museum of Modern Art in Oxford. Their client list also includes: The Royal Institute of British Architects, The Institute of Contemporary Arts, The British Council, The BBC, The V&A museum, Virgin, Tomato, Scarlet Projects, Wordsearch, Blueprint magazine, The Breakfast Group, The Canteloupe Group, Glue London and via Bus Stop (Tokyo). Over the last three years they have been winners and runners up at the FX International Interior Design Awards in the categories: Best Bar/Restaurant, Best Residence and Best Gallery. Their work has been widely published in the UK design press including magazines such as Blueprint, Intra, AJ, Building Design and Architects Journal. In mainland Europe Frame and Interni, as well as Metropolis and Interior Design in the US have written on their work. They have also featured in various books during this time such as 10x10.

Block Architecture have also exhibited their work in Europe, and recently also in Japan and the USA, as part of Space Invaders - a British Council exhibition focusing on the work of 15 of the UK's most innovative and creative architect practices. Last year, they were invited to take part in Hometime, an exhibition produced by the British Council, which toured throughout China.

http://www.blockarchitecture.com

Magasin 3 Projekt presented a film program focused on works by artists who have previously exhibited at Magasin 3 Stockholm Konsthall. It includeded works by the artists as well as documentaries. All the artists in the film program are represented in the collection of Magasin 3 Stockholm Konsthall. The dedication to exhibit contemporary art dates back to 1987. This film program displays Magasin 3 Stockholm Konsthall's commitment and linkage it the experimental character of Magasin 3 Projekt [Djurgårdsbrunn]. For the third summer in a row contemporary art is exhibited together with contemporary expressions from other disciplines such as architecture, design and music.

FILM PROGRAM
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Siobhán Hapaska (Born 1965, Belfast, Ireland)
May Day, 2001, 12 min. 37 sec.
Commissioned by Patrick Murphy, Director of the Royal Hibernian Academy Gallagher Gallery, for Ireland's participation in the 49th Venice Biennale 2001. Courtesy Siobhán Hapaska, thank you to Tanya Bonakdar Gallery, N.Y.C.

Siobhán Hapaska's sculptural works, both wall-based and free-standing have strange, mutant forms made by immaculately finished, opalescent fiber glass. They appear to have traveled back from an imaginary future. Much of Hapaska's work has referred obliquely to travel and rootlessness, suggesting a restless yearning for an indeterminate elsewhere. Her early incorporation of sound into sculptural environments has more recently been complemented by the production of her first film, May Day.

Siobhán Hapaska took part in the exhibition Hapaska, Long, Neto at Magasin 3 Stockholm Konsthall: February 26 - June 13, 2000.

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Mona Hatoum (Born 1952, Beirut, Lebanon) Measures of distance, 1988, 15 min. 35 sec.
A Western Front Video Production, Vancouver
Courtesy Mona Hatoum

Hatoum came to Britain as a student in the mid-1970s. In 1975 the outbreal of the civil war in Lebanon made her return home impossible. In her work Hatoum is concerned with confrontational themes such as violence, oppression and voyeurism, often in reference to the human body. Until 1988 Hatoum worked mainly with video and performance. Since 1989 she has concentrated on making installations.

Measures of Distance is constructed from a series of grainy video stills of Hatoum's mother in the shower. The images are overlaid with a mesh of Arabic writing that presents her mother's letters sent from Beirut. A conversation between Hatoum and her mother is overlaid with Hatoum's voice reading a translation of these letters in English. The work explores identity and sexuality against a backdrop of traumatic social rupture, exile and displacement.

Magasin 3 Stockholm Konsthall will host a major exhibition of Mona Hatoum's work October 9 - December 19, 2004 made in collaboration with Hamburger Kunsthalle and Kunstmuseum Bonn.

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Chris Burden (Born 1946, Boston, U.S.A.]
Documentation of Selected Works 1971-74, 34 min. 38 sec.
Courtesy Chris Burden

Chris Burden began exhibiting in 1971. He received instant fame with a performance piece called Shoot in which a friend, at his request, shot him in the arm. The documentation of this legendary performance is part of this film program, as are Bed Piece (1972), in which he stayed in bed in a gallery for twenty-two days, and the notorious Through the Night Softly (1973), which features Burden, arms tied behind his naked torso, dragging himself over shards of broken glass. Also included are: 220 (1971), Deadman (1972), Fire Roll (1973), Icarus (1973), B.C. Mexico (1973), TV Ad (1973), Back to You (1974) and Velvet Water (1974). Since then his work has investigated the workings of money, power, military might, and especially technology. In 1977 he engineered and built a one-passenger utopian car that is part of the collection of Magasin 3 Stockholm Konsthall. Since 1997 he has worked with Meccano and Erector Set parts to build bridges.

Chris Burden had a solo show at Magasin 3 Stockholm Konsthall: February 6 - May 16, 1999

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Gilbert & George
(Gilbert born 1943, Dolomites, Italy, George, born 1942, Devon, England)
Courtesy Hans Ulrich Obrist

Gilbert & George met as students at St Martin's School of Art in London in 1967. There they created their mutual artistic persona. Because of lack of money for working material in the 60'ies and in protest to what they considered a conceited art world dealing mostly with theoretical issues instead of talking to actual people - they went out on the streets of London as living sculptures, "art-beings". After the "living-sculptures" followed the "postal sculptures", letters about ordinary events in the lives of the artists. The subject of the work of Gilbert & George is to constantly approach themselves as examples of beings in order to describe basic conditions for the human existence such as taboos of the civilized society of the 20th century.

Gilbert & George had a solo show at Magasin 3 Stockholm Konsthall: September 6 - January 25, 1998.

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Janine Antoni, (Born 1964, Freeport, Bahamas)
Touch, 2002
Video with audio, 9 min. 37 sec.
Collection Magasin 3 Stockholm Konsthall

Janine Antoni regards her work as an ongoing process not unlike the daily chores which, to a great extent, constitute our lives. Her work aims at translating these chores into sculptural processes, in which she examines the possibilities of the body to produce meaning.

Janine Antoni's video work Touch is a development of her installation Moor that was made for the 2001 exhibition Free Port. Moor consists of objects given to the artist by friends that she tied together to form a 78 meter long rope. The rope meandered through the exhibition spaces and continued outside the building mooring a lifeboat in the port. After having learnt rope making, Antoni has continued to work with challenges relating to ropes. She has mastered the skill of tightrope walking. In the video Touch she walks the tightrope on a beach with the sea in the background. At times it seems as if she is walking on the horizon. Antoni sees the horizon as a space of desire and wishes. She writes, '...if I could walk anywhere, where would I walk? And that brought me to the horizon line...'

Touch was exhibited at Magasin 3 Stockholm Konsthall: January 2 - March 28 2004

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Cosima von Bonin, (Born 1962, Mombasa, Kenya)
Johnson, 2001
Directors, Camera: Tobias Nolte and Attila Saygel, Cut: Maiken Priedemann, performance by: Love Enqvist
Courtesy Tobias Nolte

Cosima von Bonin works broadly with sculpture, photography, installations, film and performances, often in collaboration with other artists. In her work she frequently makes references to previous exhibitions she has made. In 2001 Cosima von Bonin participated in the exhibition Free Port at Magasin 3 Stockholm Konsthall, where she made an installation consisting of a number of objects partly relating to ideas of ports, boating and sailor's uniforms. She created a sculpture resembling a twelve meter long boat "dressed" in a custom made shell made of cloth.

The film Johnson was made during the installation of the exhibition Free Port: September 15 - December 9, 2001.


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Tony Oursler (Born 1957, New York, U.S.A.)
The Influence Machine - documentary from the outdoor performance at Magasin 3 Projekt [Djurgårdsbrunn], 2002.

Tony Oursler lives and works in New York. Since the 1970s he has worked with different techniques, such as painting, sculpture, video and installation. In his work, his interest in technology in relation to psychology and supernatural dimensions is a recurring theme. He has become known for his mixture of hallucinatory and poetic texts and projections on dolls in violent and humorous scenes.

In The Influence Machine, Tony Oursler mixes fragmentary voices from the history of technology, images of heads, a hand knocking projected in darkness on clouds of smoke, trees and surrounding buildings. Using words, images and sounds Oursler created a spectacular artwork in an outdoor environment. The Influence Machine has previously been exhibited in New York and in London. For Stockholm a specific version, partly in Swedish with Swedish actors was made.

The Influence Machine was performed at Magasin 3 Projekt [Djurgårdsbrunn] September 20-22, 2002 in conjunction with a major exhibition by Tony Oursler titled Station at Magasin 3 Stockholm Konsthall September 21 - December 15, 2002.