Tag: urban development

Language is not a welcoming land, as much as we tend to forget about it in daily communication. Reality is also not a welcoming machinery, though it seems that we have grown used to its rusty hinges. Mario Asef’s work detains both language and reality (the cultural engine that produces it) with a minimal intervention that modifies their landscape. He respects the structural elements of language or cultural situations, he studies them. And then he introduces a slight modification that provokes a twist, a bristle that detains some elements of our cultural structure in an unexpected angle. Finally, he puts them back to roll into the structure, now affected and changed, and, most of all, exposed to our perception. The ground of facts is a spiderweb (Der Boden der Tatsachen ist ein Spinnennetz), we read in one of his statements, which could easily be understood under the logic of the aphorism. Common sense is a fragile territory, and our security cannot be anymore established in the ground of facts. Language also abandons part of its power here, and there is rarely a statement in Mario Asef’s work that is not slightly touched, brought back from its bombastic character into a natural move. This is also a general trait of his work. Again, something is modified, and our perception and thought are affected, but this is done elegantly. A scarce or apparently casual line drawn there where you would not need it or expect it, can be enough sometimes. In Asef’s pieces danger is not in tragic and dramatic exposures. It lies right before us, in a very small margin that has been taken out or changed.

A thesis is a Japanese Garden (Eine These ist ein japanischer Garden) says the writing on the opposite wall. It would actually be a relief to think that we can bring our walk through the garden to a memorable ending, the hill that offers us the harmonious view of our thoughts and actions. And we might need indeed a breath into this fragile (or solid sometimes) phantasy before going down back to the garden. This closeness and return to the material is a recurrent question in Asef’s work. Be it a brick, a cake, debris, a lottery poster or the ink of words on the page, the materiality of thought is always perceived. Thus, there is never a two-dimensional experience, space, even in a small caress of volume is present. And this is especially striking in his statements, where language thinks (as it happens with the aphorism) within a very small margin of space and through very few elements. But the weight of the word on the white page (which could turn this kind of writing into visual poetry or slogans) is too much, it unbalances sensitivity. And there is where the line appears. It is never a decoration, and its relation to the words is not clearly stated. But it seems to have the function of bringing back language a little closer to its materiality, even to remind this inked decisions that there is a void around them. Casual, programatic, or even ironic or playful sometimes, the lines that appear in Asef’s work create a relational tension that incorporates language but also goes beyond it. Those lines need to be handled with care, and cannot always be trusted. So the best thing we can do is to approach the ear, the eye, and ask them what are they thinking in there. For there will be no better clue to understand and enjoy the unbalanced garden they are part of.

Ernesto Estrella

Manière Noire

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 The Author

Ernesto Estrella Cózar is an educator, poet, and musician born in Granada who  has lived in New York between 2000-2012. He completed his Ph.D. at Columbia University, and between 2007 and 2011 he was assistant professor of Contemporary Poetry at Yale University’s Spanish and Portuguese department. Since the spring of 2012 he has turned to Berlin as a second base for his artistic and academic work. As a musician, he concentrates on the voice’s potential to explore the poetic process through sound. In this vein, he has created a wide array of performances that have been presented at international festivals in Argentina, Uruguay, Austria, Germany, Spain, Croatia, Russia, Finland, Latvia and the U.S.  Since his arrival to Berlin, he has been teaching seminars at Potsdam University. Moreover, in 2014 he launched The Voice Observatory, along with sound and conceptual artists Mario Asef and Brandon LaBelle. Funded by Berlin’s Senate, this laboratory of investigation offers regular seminars, workshops and performances related to the voice in its acoustic, communicative, performative, and socio-political dimensions. Most recently, his work in cultural management and civic education has led to the creation of the Nomadic School of the Senses.

Susanne Köhler

Urban space and its appropriation by the people who use it is the source of Mario Asef’s artistic work. In his videos, photographs, sound installations, and interventions the artist deals with architectonic as well as socio-political discourse and investigates how they are represented spatially. Like a researcher he examines the constructions of public life by working against the dominant order in subtle ways. This occurs by reordering things without notice or by removing elements specific to the location and adapting them to the art context. Accordingly, these urban objects are first apprehended as artworks when they are documented in photographs or written about in texts.

Asef’s group of works Empirien (1998-2006) presents an entire series of interventions documented in this way. For instance, in the work Fragile—handle with care/appropriation (2004), the artist placed cardboard boxes in front of the Covent Garden Theater Museum in London, which were then taken over by individuals and used as sleeping spots. By converting packaging into housing, Asef indirectly draws attention to the negative spaces of the city, which make life (survival) possible, but also to the present absence of the homeless. Like illegal immigrants or street musicians, the homeless also count among the—for the most part—undesirable users of public space.1 The artist stages this situation like an experiment. That vagrants then make use of it in practical ways undermines the efforts of local authorities.

In and of themselves the unforeseen and the ephemeral are inherent to Mario Asef’s interventions. He never knows how long his rearrangements will last or whether or how passersby will take them over and put them to use. This participation is the trigger for a non-verbal communication outside of cultural institutions. For the most part the users of the locations involved quickly grasp the initiative, deconstruct the intervention, and reestablish the usual “normal order” of things.

Raumprothesen (spatial prosthetics) can be viewed in many respects as a further development of this creative process. In this case, urban phenomena are actually translocated into the art establishment. Here Asef manifests his socio-critical stance by inviting street musicians to play at his opening. The performative evening was consciously designed to provoke interaction between the art-going public and individuals who operate primarily within the urban locations outside of cultural institutions.

In contrast to Empirien, the participation of everyone involved takes place within the exhibition space. As a result of this appropriation beer bottles, cigarette butts, and trash pile up on the floor and imprints from fingers and people sitting are pressed into the sculptural elements—the “Raumprothesen”—that the artist has integrated into the exhibition. “Prothese” (prosthetics) means here, so to speak, the artificial extension of the room that fulfills a specific function. As such the objects don’t even stand out at first. Rather, their white color and inconspicuous positioning on the margins allows them to be seen as a fixed component of the exhibition space.

A central aspect of this work involves returning the purported sculptures to the public locations where the elements that inspired them formally are found. For his work Asef initially pilfers material from the city. In this case polystyrene insulation board for acoustically isolating homes is used. In the context of his exhibition this building material is transformed into sculptures. Through their use (disintegration), mostly by the musicians to whom the sculptural elements were assigned as stages, they are, in turn, viewed as everyday objects. Throughout the entire duration of the show the viewer can observe the process of using the space along with its Prothesen. In addition the brief musical performances have been captured in a documentary video as staged memory, and are continuously on view. Here the quality of the recording plays a secondary role. Asef films more like an anthropologist who attempts to understand the circumstances from a distance. After the presentation in the art context is over, the objects and musicians alike make their way back onto the streets. Once there, people will again use the “Raumprothesen” as seating and eventually dispose of them. With this, a cycle of varying translocations and ascribing of meanings apparently comes to its end.

Whether in urban public space or within the space of an exhibition, the experience of those involved in Mario Asef’s interventions go far beyond the actual participation. Rather, through his subtle interventions, the viewer is sensitized to the processes at work in urban, social surroundings.

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1 Asef’s socio-critical stance goes back to the artist’s own personal experiences. He himself migrated from Argentina to Germany twelve years ago.

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The Author

Susanne Trasberger (formerly Köhler) studied cultural sciences and aesthetics at the University of Hildesheim. She curated several exhibitions in Berlin (e.g. NGBK), Worpswede and at the Kunstmuseum Wolfsburg. She was director of Kunstverein Junge Kunst, Wolfsburg, production manager for the exhibition XIII. Rohkunstbau in Berlin and published various art catalogues. She currently lives in Berlin and works for Texte zur Kunst.

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