Be it the hyperreal avatar in the work of Ed Atkins or the dancer on the streets of Guangzhou in Cao Fei’s work, the creators of the selected video works are united by their faith in the power of resistance that is found in simple poetic gestures. The permanent programme includes screenings of the Julia Stoschek Collection shown in a loop in hall 1, the largest hall of the architecture: these works, created between 19, question the relationship of human beings to their own bodies and the position of the body in social structures. In this manner, an art format is created in which the space itself has the loudest voice and where the friction does not result in loss, but instead contains the promise of the experimental when we individually and gently invite artists who perform and illuminate so that the slumber of the ICC becomes the dream of another world from which can not be awakened. The challenge that “The Sun Machine Is Coming Down” poses rests not only in the decentralisation of the art parcours of 1,000 people over 28,000 square metres, but also requires transmedial programming of the acoustically and visually overlapping positions. All of the foyers communicate using visual axes and sound paths, and even the few rooms that can be closed will be open to each other during the event. There is something mechanical in the paradox between the structural concrete and aluminium facade of the ICC, its outwardly closed typology, and its open space segments on the inside. Visitors experience the gigantic building freely during their 3.5-hour visit and encounter temporary, either announced or spontaneously occurring, elements of the live art programme as well as permanently occurring screenings, concerts, and installations, within a shell that speaks for itself. This project initiated by Thomas Oberender and curated by a team, follows the principle of simultaneity as it was intended in the architectural design by Ursulina Schüler-Witte and Ralf Schüler for the conference building. The awareness that has arisen onsite connects itself with current discourses regarding cohabitation and can be transferred to other knowledge concepts – indigenous forms of knowledge and a radical media theory that proceeds from the technical implications of media on our thoughts and social behaviour. Eerie, disturbing, and seductive, all at the same time.
The crackling of time, the groaning of the machine, the echo of the goods of earlier and other cultures – all of this was intended to flow through the ICC as sounds.
At the beginning, there was the desire to make the ICC, which is like a spaceship stranded and floating through time while running on emergency power, able to be experienced as a vessel to other worlds and species.
ARACHNOPHILIA OPEN WITH NOT ABLE FREE
There, where today the aura of what was once state-of-the-art technology has faded, where operations have come to a standstill, and where the deterioration of the building dominantes its presence, bodies, plants, sounds, discourses, and movement are returning, and – with a project named after the title of David Bowie’s song “Memory of a Free Festival” (1969) – are promising light, space, and transformation.
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