2018,

GSL Projekt

2018,

2014–2020

Michael Rupini, Witalij Frese & Mark Corfirld-Moore, Back Yard, curated by Alana Lake, 2019

Leah Dixon, Siebren Versteeg, Justin Lieberman & Michaela Zimmer, Other’s Own, 2015

Die Pandemie hat uns gezwungen, nicht nur mehr in den digitalen Raum zu expandieren, sondern uns darüber hinaus mehr Gedanken zu machen hinsichtlich eines barrierefreien Zugangs – insbesondere auch im digitalen Raum –, um ein möglichst breites Publikum mit unseren Ausstellungen, Performances, Veranstaltungen und Kinder-Workshops zu erreichen. Die Verwendung von Videos anstelle von Werktexten, die Verwendung von Leichter Sprache auf der Website sowie die Ausstellung als Spiel sind nur einige exemplarische Strategien, die wir während Corona dazu entwickelt haben – und beibehalten werden.Berlin ist zwar noch interessant, jedoch gibt es inzwischen auch andere europäische (vor allem osteuropäische) Metropolen, die mit ähnlichen Attributen wie Berlin werben.Answering this question seems to be the most difficult and an endless process for me because I have to ruminate on the past decade or so in which I have gone through Berlin as a female artist, a Korean artist, the founder and chief of an Asian contemporary art platform, and a mother. Since the very beginning, I have been interested in seeking a kind of universal identity, spanning the various backgrounds of Berlin-based contemporary artists in order to examine the question of identity as it is often perceived from the outside: according to gender, nationality, and cultural milieu. So I have created a space where the dichotomous logics about those issues could be discussed, proceeding with many projects. Above all, I had dreamt of creating a self-supporting space, based on an independent profit model. Recognizing limitations in workforce, culture, and the market of the art scene, however, I have experienced some moments of great suffering. But what has enabled me to endure those moments of suffering was not money but people, so that I would answer sincerely that a project space no longer means a physical space for me. It is a non-physical space, comprising people like artists, users and agents, or sometimes a network.