«Through the creative eyes of the artists, the audience will have the opportunity to view this incredible building through a new lens.»
“preserve memories - provide energy” is an international art event that involves four different countries, Ukraine, Germany, Italy and the United Kingdom. One exhibition and three artistic workshops are the core of the event. The audience will experience different kind of media, from performance art to video art and installation focussed on the “preserve memories - provide energy” concept. The concept comes after the venue that will host the event, the Museum Kesselhaus Herzberge.
«The Kesselhaus was built as a power plant to provide energy, 'heat and electricity', to a hospital. It later became a museum, in order to preserve technological, medical and biographical memories. Lately expanding its function to also host and provide artistic events. Though preserve memories - provide energy we are inviting the audience to engage in the idea that art can be the new form of energy that the Kesselhaus produces. Thanks to the Kesselhaus’s arts program, artists can feed their creativity into a distinctive and engaging structure and artefacts. We are asking ‘can art be a form of energy?»
«If we consider the Kesselhaus an (art)power plant, the artists will be the new machines producing power through their artworks. Posing questions such as what sort of energy is art?»
How to find a needle in a haystack? The project is dedicated to the formation of memories of a particular place and the relationships between man and architecture. The project consists of video installation and performance. In the process of its life, architecture changes a lot, acquires a certain energy, lives its childhood, youth and old age. It is customary to preserve old buildings, because they are a combination of collective memory and preserve the memories of previous generations, eras and reflect the idea of the Zeitgeist (spirit of the time). But often a person in a hurry walking along city, does not notice the changes that occur with architecture and the city. In my project I want to recreate the process of forming individual (and through personal narrative, collective) memories of the changes that have already occurred with the Kesselhaus building. I will work with temporary changes, cracks, which I will make together in a video that will be broadcast in a dark room on my stomach. Entering the building, a person is allegedly located inside it, in its stomach, interacting with architecture, and leaving - person gets a certain experience. I want to recreate a multilevel narrative of such an interaction, where relationships are formed on the principle of architecture-person-memory-architecture, which embodies the idea of performative architecture - architecture as a living form, which is explored through the body of the performer. According to my personal history-performance, I propose to form a collective history, because minor cracks and traces on the building will gain a new history and each viewer will be able to try to find these small deformations. A navigation map will be created for spectators/visitors.
glassbowls, TPE sheet, video
The mixed-media installation deals with the relation of vulnerability and violence in patriarchal power structures. There are at least two types of power. One is the power used to control and repress. Another one is the power used to resist and to make changes. We are fragile, but there is something between us that stands up to the repressing power. It is like an invisible membrane that connects us. It protects but does not hide our nature. It preserves our vulnerability, our memories that build our lived experiences, and, on the other side, it provides energy in form of empathy and solidarity.
digital print, steel
The photograph series are made with a smartphone on a walk around an industrial harbour. The effect is analog, colour and deformation arose from the reflection of the surrounding on a glass vase. It creates a dreamy atmosphere, but, combined with the subject of a shutted reloading point for goods, it suggests a dystopian impression. It is a soap bubble of capitalism and digitalism where we are in and feel estranged at the same time. The photographs are memories that transport a fantasy, trying to imagine where our technologies and society will drive the future. In that way, memories retreat to leave the field to reload artistic energy.
The concept of this work is the possibilities to shape social changes. The topic is related to how a museum can preserve their memories and offer, at the same time, energy as art to the local community. The Museum Kesselhaus Herzberge is a former industrial building. The Landschaftspark Herzberge surround the Museum, and it is a protected landscape area, a green hearth that gives energy to the community. What if this rich natural world arrives, suddenly, inside the Museum, creating a relationship with the industrial environment?
The concept of this work is the gamification of reality. The topic is related to the stratification of memories that are connected to the production of energy. The Museum Kesselhaus Herzberge preserves three generations of boilers, machines that provided energy as heat and electricity in the past. During the years the technology, the number, and the disposition of the machines in the boiler room changed, but the survived boilers are still in situ. So, the visitor can experience different layers at the same time, a stratification of memories. This stratified framework appears like a system of rules like in a game. It is a system of rules designed to provide energy in the past. But a junction of this system of rules is interrupted. It is the place where the old energy provided in the past will change in the new one: art.
The concept of this work is the possibilities to shape social changes. The topic is related to the idea to imagine a network of former power plants that become museums of art that can create an innovative art platform rethinking the social function of a museum of art today. In the Museum Kesselhaus Herzberge, as a former power plant that provided energy as heat and electricity, you can see in the boiler room a didactic panel as a schematic representation that shows the use of fossil fuel. Everyone knows that fossil fuel phase-out is a big challenge. What if during this transition, we start an art phase-in through a network of a new type of art museums from the former power plants? On the floor of the boiler room there is a trap door. According to the narrative topos of the magic door that brings us to a new world, this trap door will be the place where the artwork will drive our imagination to this option.
The concept of this work is the possibilities to shape social changes, and it is also related to the gamification of reality. In the Museum Kesselhaus Herzeberge, you can find a section dedicated to Hermann Blankenstein, the architect of the building and the adjacent hospital. Blankenstein designed several buildings in Berlin. Several of these buildings were related to marginalization issues. There was, for example, an urban shelter, two mental hospitals, an orphanage, and a workhouse. As we can imagine, this type of building is related to a complex and articulated social history of the city tissue. In this work I assume that these buildings preserve a sort of "urban memories" and by some design principles related to the simulation games, I explore the possibilities of the imagination to shape the urban space in searching of utopian energy that could help us to overcome life's challenges.
The concept of this work is the possibilities to shape social changes. The topic is related to food as a driver of energy that comes from domestication and memories related to its powerful symbolism. Hermann Blankenstein was the architect of the original Kesselhaus, now the Museum Kesselhaus Herzberge, and he designed several buildings in Berlin. One of this building was a slaughterhouse. Everyone knows that there is a debate around meat as a source of food for several reasons. But since some years, industry trying to develop the cultured meat. Will the architects have to design slaughterhouses in the future, and how, consequently, will change the symbolic power of the blood that preserve memories of life and death in such a unique way?
The concept of this work is the possibilities to shape social changes.The topic is related to the relationship between memories, art energy, and the spatial environment. The boiler room of the Museum Kesselhaus Herzberge is a peculiar environment of around five hundred square meters, full of memories, big machines and small details. In this work, according to some scientific theories, I assume that exist a spatial memory, and a spatial map. We can imagine this spatial map, not necessary a visual one, designed by memories. How detailed could be this map? Probably they could be some blind spots. What if, art energy can drive us to discover these blind spots? Could it help us to conceive a different social use of space?
‘soft fascination’ connects with bringing the outside inside the museum, connecting with the community. But in a very subtle way. Its real connection stays within the Kesselhaus’s link to its provision of energy to the hospital. Inside the light box are slides containing plant parts that have been affected by illness or insect infestation. In a sense once again bringing the Kesselhaus as a place to provide care or safety. The Kesselhaus is surrounded by greenery, almost absolutely free from all worldly engagements, working from a distance to preserve its old purpose of providing energy for care and wellbeing. Views of nature are linked to the recovery of society, our strong deep routed bond to nature slowly forgotten as we replace the organic with the man-made.
For people who have had the privilege to be born in a developed and socially and politically stable environment, canals, lakes and the seaside are tourism and tranquillity spots, these same spots can trigger awful memories for less privileged people. Often water is also used to cleanse, in cases of rape, or molest water is usually used as an escape to try cleanse the body of a negative trauma. I am very interested in this multiple faucet of water, I draw attention to the way boilers work, and how man has used this natural source to create an extra power and energy supply. This work explores in particular the relationships we hold with water both naturally and societally.
The latent, dormant powerful machines, have been turned off, outdated by progress. We discard the old, and the past often too frivolously, treating the immortal with higher regards than the mortal. By asking what it means to preserve an object, for what purpose and in particular what is the function of preserved artefacts once they enter into a museum the work will give a voice to the artefact that is no longer used, but perhaps not useless.
Liiek is a three-piece band of ADKosmonauten Crew - playing bleat cadenced austere post-punk.
In 2018 the artists Tetiana Kornieieva and Vincenzo Fiore Marrese met each other in Latvia. They were part of an art festival in Riga, called "Rīga Performance Festival: Starptelpa". One year later, the artists Sophia Moffa and Marrese, met in Bangladesh. They were part of an art biennale called "D'Lab 2019, Dhaka Live Art Biennale", in Dhaka. Kornieieva, Marrese and Moffa, designed the project "preserve memories - provide energy". The project was conceived with collaborative tools online because all the artists live in different cities: Kyiv, Berlin and Birmingham. Later, came another artist, Nora Lube. Lube and Marrese met in Berlin. So, only one artist knows all the other, and this artist-run initiative put together four different countries from the beginning.
Trough “preserve memories - provide energy” the audience will experience art as the result of an international artistic collaboration. When people work together in collaborative projects, it matters, ever. During these days, we can say that collaborative projects matter more than ever. Cause for the pandemic, the efforts to create an artistic network between four different countries in Museum Kesselhaus Herzberge, confirms the importance of Berlin as a meeting point for today's art, and the people.
The exhibition and the workshops will happen at the Museum Kesselhaus Herzberge in the district of Lichtenberg, in Herzbergstraße 79 (Haus 29) 10365 Berlin. The workshop “Performative landscapes” involves also a day in a public space in Berlin (place to be defined, please check our channels for updates).
The exhibition will happen on the 14th of November 2020 from 6 pm. to 11:59 pm.
The workshops will happen on 15th, 18th, 19th of November 2020 (time to be defined, please check our channels for updates).
«We wish to ask if it is possible to hover memories? by doing so would this create a new territory that is created by the two intersecting, a new space that did not exist before?»
This workshop is for people who want to feel the presence of the moment and also explore something new about the city.
The workshop is dedicated to the idea of performative architecture. During the workshop we will explore our organs of feelings and use them for understanding a space deeply. Often, walking around the city, we don’t remember the small changes, which appears every day. In general, we notice seasons changing and when something happens around us. But even cityscape has own smell, taste, texture, image and sound. Usually we don’t get into the details, forget about the smells and textures. We will explore the space with only one main organ of feelings, start to be slow and notice small and at first view not meaningful things and create a new image of cityscape and souvenirs (memories) of the space.
First day: Museum Kesselhaus Herzberge. Second day: public space (to be defined).
The workshop consists of two parts in 2 days.
The minimum age to participate is eighteen years old. Minimum 7 participants.
The participants could experience deep states of mind. The artist is not liable for any uncomfortable feelings or similar that could happen to you. Please, take part in it by your responsibility and enjoy the experience.
In this century of technology, the physical presenceis more important than ever. With the current situation of epidemic, the virtual world has increased exponentially, perhaps changing the world forever, but let’s not forget the tangible world we all belong in. The workshop gives people the opportunity to connect with their physical side, understand and listen to their bodies better and to have the opportunity to work with other people from the community. The workshop will focus on unspoken dialogues, expressing entire stories, feelings or experiences through movement. Movement is the catalyst that holds both memories and energies and can often be more powerful than words.
The workshop will be a movement-based workshop, focusing on performance art and contemporary dance. Participants will learn to listen through observation and communicate through movement.
Movement is a silent communicator that dance and performance art use as a medium and a material for expression. Movements, as subtle as how we hold our body can tell a story, the way we walk, sit, move are silent communicators in our everyday lives that we build from childhood, every experience adding to our ‘body library’. Within the workshop we will explore di erent ways of moving by expressing what can’t be expressed through words. Movement is a way to connect our bodies, develop and understand them. We will explore the memories connected to our bodies, what parts we feel most detached or attached too. In-between di erent exercises we will also have conversations about the use of non-lingual communication, body position, presence and memories linked to the physical presence.
Museum Kesselhaus Herzberge
From 04:00 to 06:00pm.
The workshop invites all people, from all backgrounds, ages and abilities to join. People joining need to bring nothing in particular, just themselves in comfortable clothes.
Minimum 5 participants, maximum 15 participants.
The purpose of the workshop is to create anartistic journey. It means to spent time with an artist that will drive you to use your mind creatively, and to create some coreographic actions that involves the use of your body, and some art objects in a simple way. The workshop is developed in a creative environment, without competition, without the necessity to use technical abilities. A consensus decision-making model will drive the working group. According to the European Reference Framework provided by the Council of European Union on the key competences for lifelong learning, the workshop aims to support the development of cultural expression: "that result from the creativity of individuals, groups and societies", by three objectives. First, improving the knowledge of local heritage, second engaging in a collective creative process, and third experiencing a mindset that helps us to imagine new possibilities. The goal is to learn how art could express an idea through creativity. Vincenzo Fiore Marrese is a certified teacher of Art, Technical Drawing and History of Art, by the Ministry of Education, University and Research of the Italian government.
This workshop is an artistic journey in search of the missing mountain, the "Herzberge". As we know, "Herzberge" ("Heart Mountains") is the name of the surroundings of the Museum Kesselhaus. But, although there is the presence of inland dunes, there are no mountains in "Herzberge". The journey starts in the foyer of the "Museum Kesselhaus Herzberge". The participants will discover the special status of the Museum: a place that keeps memories (as a museum) and gives energy (as an art centre) at the same time. How is it possible this special status, to keep and to give something at the same time? Have you ever felt something like this? To answer this question, we will go to the first room, the boiler room, to experience the idea of memories. In the boiler room, the participants will play on memories, attention and visual perception, experience the visual space in an unusual and inspiring way. We will experience the perception of time and space and of changing. Then, we will move to the theatre, close to the boiler room, to experience the idea of energy. There is a reason why we will move into the theatre, and we will discover it together. In the theatre, we will play a game that will show us something about th e future. Then, we will discover the artworks of a very peculiar artist. And, with a random walking, we will arrive at the missing mountain!
Museum Kesselhaus Herzberge
From 10:00 a.m. till 12:30 a.m., 30 minutes lunch break, and then, again, from 1:00 p.m. to 4 p.m.
It is suitable for any audience from 11 years old, and It works with school groups. The minimum number of participants is 2, and the maximum is 20.
The Museum Kesselhaus Herzberge is an incredible museum. It presents an industrial archaeology collection of three generation's old boiler machines still in situ, a medical collection, and a permanent exhibition about Hermann Blankenstein. Blankenstein was the architect of the Kesselhaus and several buildings in Berlin. The Museum is part of the network European Route of Industrial Heritage, and it is located in the huge green area Landschaftspark Herzberge in Lichtenberg, not so far from the Dong Xuan Center, the Vietnamese shopping centre, and half an hour by the Stasimuseum.
Tetiana Kornieieva works with installation, performance and video art.
Education: National Pedagogical Dragomanov university (cultural studies) and Kyiv state academy of Decorative Arts and Design M. Boychuk (monumental painting).
Additional education: Open Art School - contemporary art; School of Visual Communication - graphic design and illustration; Studio. doc The Sergey Bukovsky film programme - documentary filmmaking. In her work, Tetiana explores the topic of personal boundaries and the relationship of the subject with the Other. He works with the theme of performative architecture, exploring the interactions of the subject and architecture / landscape as the Other. Since 2017, she is a co-founder of a group of performers Live Art Lab, based in Kyiv. The group works with topic of private and public spaces. Tetiana was a participant of festivals Riga performance festival (Latvia), Carbonarium performance festival (Kyiv, Ukraine), ZABIH performance festival (Lviv, Ukraine), Look at this Vulva: woman art festival (Vienna, Austria).
Nora Lube's work includes topics like decay, destruction, fragility and banality. In her work she often uses trivial objects as witnesses of civilisation and creates insubstantial realities. Also she plays with contrasts in symbolic and material. From 2014-2018 Nora Lube studied fashion design in Berlin. During that time she focussed on experimental techniques with material and surfaces. Since 2019 she is in the class of Thomas Rentmeister for Fine Art (sculpture) at HBK Braunschweig.
My vision is to create complex works on the art-society relationship in present days, easy to understand under the right approach. At present, I work on the idea to expand art on politics, because politics is an essential part of our society. I like to create works related to the present and the collective experience. My attitude is rational and sceptic. I use critical thinking based on rationality and scepticism. The method to develop my works are intuitive. I work on the sense of direction, hiding landmarks to create disorientation to encourage critical thinking in the audience. I presented my work in several countries in Europe and in Asia.
(Rome) Birmingham UK
Moffa works mainly within sculpture, performance and video art. She studied a BA in sculpture, at the University of Wales Trinity Saint David and an MA in Fine Art at Manchester School of Art. Her work is interested in the alternating mirroring of the self and the society, the communication between people, their surroundings, and the negotiations that occur within one’s own mind. Moffa's work mingles in dystopian aesthetics working often experimentally and intuitively throughout her practice, she also works through a physical sketch book by performing happenings within the city using the unexpecting audiences as a critical mass.
Moffa also founded with Finnish artist Riikka Enne the mobile and experimental gallery Tape Modern and collaborates in an artist dyad under the name of enne&moffa. She has exhibited within Asia, Africa, Middle East and Europe. Her latest shows include London Ultra, Shilpokala, Dhaka National Gallery (Bangladesh); Food to the Dogs, Tape Modern, (UK); and Brashnar, Skopje (Macedonia).
Warning: please, check these files regularly. The project is ongoing, and we will add information about partnerships and supports. You can download the latest version of our press kit (20.4 MB) and the latest version of our brochure here.
Note: all the texts between angle quotation marks come from collaborative writing by Kornieieva, Moffa and Marrese.