Peter Friedl Gerd/Gerda, 2002 Proposal “Art Competition Federal Chancellery”, Berlin, 2002
The project proposal (working title) attempts to quite consciously grasp the announced requirements, expectations, limitations, and goals as the material and definitional scope of an artistic work. Essentially, concern is with each of the four rectangular surfaces defined by the fire doors in the fifth, sixth, and seventh floors, which are currently concealed by folding screens with a textile covering.
According to the announcement and the preference of the organizers, these surfaces in the so-called Skylobby of the Federal Chancellery take priority. They were hitherto used as displays for pictures from the Marx collection, although they presented certain technical problems related to hanging. According to the statement of the current federal chancellor (in the 3sat television show Stiften gehen from 11 March 2002), also art works from the Grothe collection might follow. These provisional furnishings came about through a recommendation by the art commission of the Federal Chancellery. Since it was not possible to simply hang the pictures on the textile walls with no further provisions, until now an additional, plinth-like substructure was employed, which could possibly be seen as a reserved, space-encompassing object.
Joining the issue of display are the practical problems with art that has a “sculptural, space-encompassing character” and is basically possible, but should not detract from the operational demands of the Chancellery on the three floors placed at disposal. The current privileging of painting thus follows that trenchant logic in which sculptures are mere distraction when beholding pictures. A similar problem arises for public art commissioned to accompany public construction projects (Kunst am Bau), where the artistic intervention must take the final, accomplished architecture into consideration.
Gerd can be described as a picture sculpture, which uses the form of display. It is a relatively stable, white, wall partition system, which is placed in front of the ideally unconcealed fire safety doors and takes on their dimensions. The depth measurements result from constructional considerations and technical safety imperatives, but also from the conceptual approach of sounding out the available surface area with regard to the functional constraints (such as its function as a “traffic route” and “change of location” for the employees at the chancellery, and positioning of the seating arrangement) and in confrontation with the architecture, mainly also the available design and interior design solutions.
The idea is to clarify a specific complexity, whereby the principle of exhibiting—as theme, strategy, and medium—plays an important role. Gerd functions autonomously (empty, white), but likewise as a very real, usable projection surface and as a picture carrier (e.g., for other art). At the same time, Gerd embodies indifference, willingness to cooperate, perfection, modesty, stamina, discourse faculties, and much more. Gerd functions with or without politics (see answer to colloquium question 6: “It is Kunst am Bau and is therefore not fundamentally influenced by a change in government”). It can also be presented and installed at a different place after a certain time. Changed spatial conditions and proportions increase its level of autonomy.
The basic materials for the partition construction are standard aluminum frame modules. Used for final finishing are (double sided) plywood or wood-cardboard slabs. The surface is a smoothly plastered, white coating. The support construction on the back wall with ground anchorage should be as space-saving and efficient as possible. It will be designed in cooperation with the design office D+ in Vienna. The materials are aluminum sections. The distance to the fire safety doors is great enough that the maintenance staff can have access. There is no covering on the side toward the main entrance between the fire safety doors.
As a wall partition system, Gerd is, in principle, suitable for all of the spatial situations—from the fifth to the seventh floor—cited in the call for proposals. The slightly different dimensions of the fire safety doors are irrelevant. Gerd can be set up once or many times as an installation. Inherent to the logic of modular systems is that they must sustain various deciding factors. Recommendations from the prize jury are welcome.
A possible alternative title is Gerda.
Peter Friedl Gerd/Gerda, 2002 Proposal “Art Competition Federal Chancellery”, Berlin, 2002
The project proposal (working title) attempts to quite consciously grasp the announced requirements, expectations, limitations, and goals as the material and definitional scope of an artistic work. Essentially, concern is with each of the four rectangular surfaces defined by the fire doors in the fifth, sixth, and seventh floors, which are currently concealed by folding screens with a textile covering.
According to the announcement and the preference of the organizers, these surfaces in the so-called Skylobby of the Federal Chancellery take priority. They were hitherto used as displays for pictures from the Marx collection, although they presented certain technical problems related to hanging. According to the statement of the current federal chancellor (in the 3sat television show Stiften gehen from 11 March 2002), also art works from the Grothe collection might follow. These provisional furnishings came about through a recommendation by the art commission of the Federal Chancellery. Since it was not possible to simply hang the pictures on the textile walls with no further provisions, until now an additional, plinth-like substructure was employed, which could possibly be seen as a reserved, space-encompassing object.
Joining the issue of display are the practical problems with art that has a “sculptural, space-encompassing character” and is basically possible, but should not detract from the operational demands of the Chancellery on the three floors placed at disposal. The current privileging of painting thus follows that trenchant logic in which sculptures are mere distraction when beholding pictures. A similar problem arises for public art commissioned to accompany public construction projects (Kunst am Bau), where the artistic intervention must take the final, accomplished architecture into consideration.
Gerd can be described as a picture sculpture, which uses the form of display. It is a relatively stable, white, wall partition system, which is placed in front of the ideally unconcealed fire safety doors and takes on their dimensions. The depth measurements result from constructional considerations and technical safety imperatives, but also from the conceptual approach of sounding out the available surface area with regard to the functional constraints (such as its function as a “traffic route” and “change of location” for the employees at the chancellery, and positioning of the seating arrangement) and in confrontation with the architecture, mainly also the available design and interior design solutions.
The idea is to clarify a specific complexity, whereby the principle of exhibiting—as theme, strategy, and medium—plays an important role. Gerd functions autonomously (empty, white), but likewise as a very real, usable projection surface and as a picture carrier (e.g., for other art). At the same time, Gerd embodies indifference, willingness to cooperate, perfection, modesty, stamina, discourse faculties, and much more. Gerd functions with or without politics (see answer to colloquium question 6: “It is Kunst am Bau and is therefore not fundamentally influenced by a change in government”). It can also be presented and installed at a different place after a certain time. Changed spatial conditions and proportions increase its level of autonomy.
The basic materials for the partition construction are standard aluminum frame modules. Used for final finishing are (double sided) plywood or wood-cardboard slabs. The surface is a smoothly plastered, white coating. The support construction on the back wall with ground anchorage should be as space-saving and efficient as possible. It will be designed in cooperation with the design office D+ in Vienna. The materials are aluminum sections. The distance to the fire safety doors is great enough that the maintenance staff can have access. There is no covering on the side toward the main entrance between the fire safety doors.
As a wall partition system, Gerd is, in principle, suitable for all of the spatial situations—from the fifth to the seventh floor—cited in the call for proposals. The slightly different dimensions of the fire safety doors are irrelevant. Gerd can be set up once or many times as an installation. Inherent to the logic of modular systems is that they must sustain various deciding factors. Recommendations from the prize jury are welcome.
A possible alternative title is Gerda.