Auszeichnung
künstlerischer Projekträume
und -initiativen

Spor Klübü

2003
Freienwalder Straße
31
Berlin
13359

Michelle Atherton, Jette Gejl, TV MCCormack, It doesn’t have a Shape, it has a Shadow, 2019, Foto: M. Mayer

Ulrike Mohr, GESCHIEBE, 2018, Foto: Matthias Mayer © VG Bild-Kunst, Bonn 2021

TRANSIT-series#1, Johannes Bünemann, Karthamazän, 2018, Foto: Matthias Mayer

Simone Lanzenstiel, wie es nicht wahr, 2018, Performance Simone Lanzenstiel & Tom Früchtl, Foto: Matthias Mayer © VG Bild-Kunst, Bonn 2021

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.Das Netzwerk ist wichtig, jedoch vielen Leuten nicht sehr bekannt. Es müsste medial präsenter auftreten, also sichtbarer werden, auch unabhängig von der Preisvergabe.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.