open haus21 / 05 / 1999 -
Opening : Institution / Architecture / Media / Program / Identity / ...
Architecture Renovation / Restructuring
Website concept / realisation for institution and program
"Shooters Bar" from Melrose Place TV Series (1997)
Mel Chin / GALA CommitteeAudio Plug-In
Metal Machine Music (1975) RCA
Lou Reed.Print Plug-In
Footnote Library 1 - "Spatial Narratives" (1991)
Mark RakatanskyVideo Plug-In
Trailer 1980 / 99
Künstlerhaus / haus.0
"open haus" was the haus.0 program’s first public entrance, its official opening split between and joining two addresses, website and actual location Reuchlinstraße 4b. This sets a specific orientation underway that allows for the notion of "public" to be as one prismatically layered within an array of reflections. These are conveyed both in terms of cultural practice operating in the kind of artworks presented and by how these are understood as "Plug-Ins", features that, like their computer-based namesake, extend the base line capabilities of the program, and as well are embedded as narratives within the space.
"open haus" introduces the operating system of haus.0 as a framework for ongoing narratives originated within the parameters of contemporary art practice linked to an institutional format. From renovated architecture and institutional structures to new website development to recovery of old video archives, this first phase was clearly introduced to continue on the program’ s emphasis on issues pertaining to culture and identity, narrated by a language of interfaces, links and search patterns. The space evolves over time an identity and character that also transform into a navigation line for the website, which is not a simple representation of the program, but its mirror image and source code as well thus unfolding into the coordinates of virtual spaces.
haus.0 Plug-In philosophy for Künstlerhaus
The projects linked to "open Haus" represent the first array of "Plug-Ins". These are each ordered in terms of certain shifts, which aim to reference a fundamental change in the 1980s and 1990s concerning media. Defining each particular media outside of formal medium and in terms of wider social perspective allows for links in terms of artistic practice now. Materials are not collected after thematic categories along the lines of traditional libraries. Specific to each kind of media, participants are asked to suggest organisational outlines for sections in libraries that connect within their projects, as the emphasis is around a set of key overlaps and interlinks focused down to a condensed section.
see also Plug-In Philosophy
Invited artists work with these Plug-Ins through organising particular search patterns where inquiry, resource and presentations are developed within the particular project frameworks. These are navigated by the computer area and browser, indicating the shift away from architectural space and narrative onto hypertext, and a new 'scripted space'.
The subject of every new entrance is of course the public imagined. In this case of the time period of haus.0 in Künstlerhaus, the Stuttgart public links directly to the role of the Künstlerhaus, whether as members or audience in terms of cultural as well as artistic practice, emphasizing the fundamental importance as the artist's space as mediation.
"open haus" introduces artist's productions that demand to understand the complex issues of idealizing a 'public' in terms of quota, audience, fans, community, individual identification and trace contemporary artistic strategies in relation to issues of media and communicational formats. To unearth the stories told, the narratives hidden by visible as well as virtual, cultural, ideological architectures constitutes one of the plot points of haus.0 policy still in development. It introduces a concept evolving over time, which at its core is constituted of a complex identity discourse linked to art practice that is always challenging its own underlying dynamics.