2023,

DOOM SPA

2023,

2015

Kaiserin-Augusta-Allee

83

Berlin

10589

doomspa.org

Der Projektraum DOOM SPA wurde 2015 von Roseline Rannoch gegründet. DOOM SPA nimmt sich bestehende oder schafft neue Räume und entwickelt in Zusammenarbeit mit befreundeten und ein- geladenen Künstler:- und Kurator:innen ästhetische und diskursive Formate. DOOM SPA verortet sich sowohl digital als auch physisch. Seit 2019 ist DOOM SPA vor allem im Berliner Westen aktiv, aktuell im 13. Stock eines Hochhauses am Wittenbergplatz. DOOM SPA legt Wert auf Gastfreundschaft und betreibt eine Bar. DOOM SPA ist ein Raum für Kunst und ihre Subjekte (Künstler:innen). Widersprüche gilt es auszuhalten. Es gibt keine Widersprüche.

Ich wünsche mir mehr Selbstverwaltung der Förderungen und weniger Verwaltungshürden oder Barrikaden. Städtischer Leerstand sollte schnell und unbürokratisch zur Zwischennutzung für Projekträume nutzbar gemacht werden, selbstverwaltete künstlerische Freiräume, Projekte oder Hausgemeinschaften müssen unbedingt erhalten bleiben.Funding and access to funding is a key element in sustaining project spaces. There are many funding tools that project spaces can use to cover the costs of labor, materials, and rent. But the options are competitive and usually involve a lot of effort and paperwork. In our opinion, there needs to be a change in the funding system that includes simplifying the application process and shortening the waiting time between submission and announcement of the result. Only like this can the project space keep the momentum and focus on artistic and curatorial projects.The city has become more expensive overall and therefore there is less free space – there are less “Freiräume”. Our definition has not changed as a project space. The concept of an ideal space is completely dependent on what the organizers/artists/curators are interested in doing. In our opinion, there isn’t ONE type of space that is ideal which is actually what is so wonderful about project spaces in general – they are diverse, and completely different. It seems that because of the lack of spaces and the increased rents, more project spaces have turned towards commercial models. But since funding has become more commonplace in the scene, meaning it’s more common to pay artists who are involved in shows, performances, readings, events, etc. at project spaces, this has put more pressure on spaces in general to have to secure financing. We would argue that since funding has become more readily available, the structures have begun to change. It’s a bit of a double-edged sword. It’s wonderful to receive funding and be able to support artists, and as a result, the scene has become much more professional. But at the same time, it is harder in some ways to do projects more spontaneously and in an improvised fashion. This, as a result, has changed the (power) dynamics between the artists and the project space organizers, as very often the organizers are NOT funded but the artists participating in the projects are. This creates a rather awkward dynamic and as organizers ourselves, it’s frustrating for us to not be paid for our efforts and contributions to the “Freie Szene”.