künstlerischer Projekträume
und -initiativen

Kreuzberg Pavillon

Der 2011 gegründete Projektraum wird von Heiko Pfreundt und Lisa Schorm betrie-
ben. Der Raum dient der Entwicklung und Ausstellung von experimentellen künstlerischen, kuratorischen und kunstvermittelnden Projekten. Aus dem zwischen 2011 und 2016 wöchentlich stattfindenden Ausstellungsrhythmus, ist in den letzten drei Jahren eine Struktur aus inhaltlich zusammenhängenden Ausstellungsreihen und Aktionen hervorgegangen, welche sich als fluides,
durchlässiges und kollaboratives System begreift und mit spielerischen Eingriffen und sequentiellen Ausstellungskonzepten an einer ständigen Erweiterbarkeit und Re-Dramatisierung des Ausstellungsraumes und seiner Umgebung interessiert ist.

THE INFINITE GAME – a 23 hours live action, 2018, Foto: Heiko Pfreundt

Tracey Snelling, Ausstellung: MMXXI, 2018, Foto: Heiko Pfreundt

Prinzipiell ist unsere Haltung heute, dass wir honorierte Arbeit − ob nun für die Infrastruktur oder ­einzelne Inhalte und ­Formate, ob für uns oder Dritte, mit denen wir arbeiten − als Prinzip anstreben.To run a space is a form of appreciation of other artists, it is an outcome of friendship and mutual understanding; it is an indication of trust between all involved. To run a space means to take responsibility. To run a space is not only self-organization – money may not be vital to put up a show – but it is for sure necessary to animate a space and keep it alive. The prize comes due to hard and merited work, but maybe a grant would be more befitting than a prize? Maybe an iron scaffold holding up a structure in advance is better suited than a gold star for accomplishments? To run a space is a full time job. A group of artists who share their enthusiasm, interests, time, and skills would impart a project with a larger circulation of assignments between the makers. I am convinced that the longevity and success of a space relies on a horizontally organized (net) work.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.