2015,

G.A.S-station

Tankstelle für Kunst und Impuls

2017, 2015,

2007

Tempelherrenstraße

22

10961

2gas-station.net

4. internationales, themenspezifisches und spartenübergreifendes Ausstellungsprojekt, 2011/12

Gisela Weimann, Die Wand / KONJUGATIONEN / Über das Irren, 2020

11 Jahre kunsT und impulS, 2019/20, Falt-karton als Wandobjekt für die Literatur-beiträge

Oliver Orthuber, Ausgespeites aus der anderen Welt?, x| y|z: Raumobjekt (für Augustina), 2016

Verwertungslogik und Karrieredenken unter den „alternativen“ Projekten haben zugenommen, neue Strategien nähern sich eher dem Markt an, statt eine alternative Arbeitsweise zu verkörpern/zu leben, damit stirbt ein großes Stück der „alten“ Einstellungen und Haltungen und auch ein großes Stück des experimentellen Berlins. Optimistisch betrachtet: Immer wieder Lücken nutzen und das Unmögliche machen und leben.Art should first and foremost raise questions that are important for present and future societies. In the last decade, art has moved closer to science, technology, and society. It has become less commercialized and more diverse. We would like art to become not only illustrative and speculative, but also functional, embedding even more science and technologies within itself. This would encourage the audience to be even closer to art, perhaps more critical, diverse, tolerant, and creative.The commercialization of the contemporary art scene in the last decade has created alienation and dissociation from the audience. The social filters at the established exhibition spaces, the sterilization of methods of presentation, and over-professionalism have created an image and perception of inaccessibility. In that respect, project spaces and art initiatives that resist these dynamics and strive for keeping direct social contact maintain the political potential of artistic practice. We don’t promote the conventional star system in selecting the artists we are collaborating with; we don’t pursue a hierarchical method by employing an omnipotent curator; we value the critical content and formal experimentalism of the artworks rather than the conditions of their presentation, and we don’t sell any artworks in our space; we don’t invest our energy in commercial speculation. We put an emphasis on the collective and on the social. We keep contact with our immediate neighborhood (in Neukölln), and we prioritize the knowledge about and the cultural accumulation of a particular geography. Hence, we engage in a counter-position against the dominant dynamics that have shaped the field of the contemporary art scene in the last decade. The pandemic condition has also been a drastic element that forced actors in the field to reconsider methods of presentation and social contact.