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The Wolfsburg art prize 2014 "Junge Stadt sieht Junge Kunst" is awarded to the German-Iranian artist Bettina Pousttchi. The award is coupled both with an exhibition in the Städtische Galerie Wolfsburg in May 2014 and with a considerable publication. Furthermore there will be an acquisition for the collection of the Städtische Galerie Wolfsburg.

The prize was for the first time awarded in 1959 and considers itself to be a supportive initiative for artists in the middle of their careers. Ideally, it would act as a catalyst for retrospection and further development. Bettina Pousttchi works equally in the field of media, photography, video and sculpture and deals primarily with subjects as perception of time and drawing of boundaries. Asking for art in public space is a theme which regularly occurs in her works, too. The diversity and complexity in terms of content have convinced the jury for this year's decision.

Similarly, as subtle interventions in the course of daily life circumvent our perception, so do the objects of Bettina Pousttchi - which are often taken from public spaces - underrun our cognition. They are formed anew as sculptures, referring both to ordinariness and art history. In her works she uses therefore barriers or bollards from which she creates new, abstract forms. The barriers are repeatedly made use of, thematizing subjects as borders and borderline experience, as well as discharge of energy.

The award is coupled both with an exhibition at the Städtische Galerie Wolfsburg and with an artwork covering the façade of the city’s castle. The artist will coat the north wing and the castle’s edges with a 2.150 m² photo installation called “The City”. Her artwork is making reference to the history of the 20th century planned city Wolfsburg by constructing a cover which illustrates a coherent skyline of ten skyscrapers, being an architectural icon of modern times.

From a cultural and historical perspective, the castle of Wolfsburg is amongst the oldest and most important structures in the young city of Wolfsburg, and has given the city its name since 1945. The fortified complex, which was first mentioned in documents in 1302, underwent numerous expansions and redesigns during the Middle Ages and Renaissance and most recently in 1840, and is considered from the perspective of architectural history as an architectural monument of the northern German Renaissance.

translated by: Katharina Manitsas

Dates

  • 24. May 2014 18.00 cet
    Award Ceremony of the Art Prize to Bettina Pousttchi

    Saturday, 24th May, 6 pm. Bettina Pousttchi is this year's recipient of the Wolfsburg art prize.

    Person speaking during the opening ceremony at the Gartensaal of Schloss Wolfsburg

    KLAUS MOHRS Mayor of the town Wolfsburg

    HANS-JOACHIM THROL Chairman of the Kunstbeirat

    THOMAS KÖHLER Director of the Berlinische Galerie

    SUSANNE PFLEGER Directress of the Städtische Galerie Wolfsburg

    Following the awarding ceremony, we cordially invite you to join us in the opening exhibition of "The City" by Bettina Pousttchi and have an aperitif.

Press

Detailed information on the exhibition is available in the Press Area on this page. If you have questions about this exhibition, we are happy to assist you further.
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The genesis of an artwork

Blog for the Wolfsburg art prize "Junge Stadt sieht Junge Kunst"

The blog about Bettina Pousttchi's "The City" is now coming to an end

by: Meike Gatermann

29. September 2014 13.03 cet

  • "The City" at night
    © Bettina Pousttchi

In March this year we have started this blog and thereby taken you on a journey of the genesis of Bettina Pousttchi's "The City". Together we were able to see how the artwork fell gradually into place and how it eventually was installed on the facade of Schloss Wolfsburg. Saying this, we would like to thank all of our blog friends and followers for their considerable number of participation. "The City" is still on display until the end of the year, while the works on the facade are proceeding. The exhibition has been prolonged and will be presented in a narrowed manner, i.e. in one exhibition room of the Städtische Galerie Wolfsburg.

We are looking forward to your continuous participation in the activities of the Städtische Galerie.

translated by: Katharina Manitsas

Wölfe Club comes to see "The City"

by: Brigitte Digel

22. August 2014 08.40 cet

  • The Wölfe Club on a visit at Schloss Wolfsburg
    © Wölfe Club, VfL Wolfsburg

The Wölfe Club of VfL Wolfsburg was not deterred by the autumn-like wheather in the middle of August and marvelled during their visit at the 'transnational skyline' which has become in addition to the local football club a nice spot in the neighbourhood.

translated by: Katharina Manitsas

Kids on holiday are searching for traces

by: Meike Gatermann

15. August 2014 11.34 cet

  • Kids are searching for traces
    © Städtische Galerie Wolfsburg

Holiday season means also doing different activities. Here, the kids are on a visit at our castle and searching for traces to "The City". Definite opinion: the installation is 'pretty cool'. 'Why has the Wolfsburg castle been painted this way' was one of the first questions. But during the talk and on closer consideration it has become clear that it is a creative work and people are working behind it.

translated by: Katharina Manitsas

The exhibition in Dallas is prolonged

by: Meike Gatermann

07. August 2014 10.48 cet

  • A glimpse of the exhibition
    © Bettina Pousttchi Studio

The exhibition of Bettina Pousttchi at the Nasher Sculpture Center Dallas is going to be extended until 17th August. For more information, please see: http://www.nashersculpturecenter.org/art/exhibitions/exhibition?id=92

translated by: Katharina Manitsas

Guests from Japan on a visit

by: Meike Gatermann

04. August 2014 10.20 cet

  • Guests from Japan in front of "The City"
    © Städtische Galerie Wolfsburg

Guests from Toyohashi, the Japanese twin city of Wolfsburg, have come for a visit. They showed themselves to be impressed both by the 'transnational skyline' and the exhibition which can be found in the interior. Especially the bollards and the ceramic works found an echo. Following the guided tour on this perfect summer evening, the visitors enjoyed their dinner in front of the skyline at the 'Schlossremise'.

translated by: Katharina Manitsas

Film about exhibition on YouTube

by: Meike Gatermann

24. July 2014 13.10 cet

  • Bettina Pousttchi. "The City" on YouTube

From the construction to the exhibition and the prize giving ceremony - for all who have not been there http://www.youtube.com/watch?v=Mz-_UuZJSFg

translated by: Katharina Manitsas

"The City" attracts many art lovers

by: Meike Gatermann

17. July 2014 12.05 cet

  • Susanne Pfleger explains during the art talk various groups of Bettina Pousttchi's artwork
    © Städtische Galerie Wolfsburg

Since the beginning of Bettina Pousttchi's exhibition and her artwork on the castle's facade, numerous visitors have been drawn to "The City". 'There are not only bridal couples who get their pictures taken in front of the artist's high-rise building facade but also many people and groups who are interested in the arts are coming to see us and get the artwork explained', says Susanne Pfleger, directress of the Städtische Galerie Wolfsburg.

translated by: Katharina Manitsas

Two works of Bettina Pousttchi have been chosen for purchase

by: Meike Gatermann

02. July 2014 12.27 cet

  • The 'Kunstbeirat' in the room with Bettina Pousttchi's "Squeezer"
    © Städtische Galerie Wolfsburg

Last week, Wolfsburg's municipal 'Kunstbeirat' has deliberated on purchasing artworks, among others two pieces of Bettina Pousttchi's current exhibition. There are "Karl" and "Thomas" from the series "Squeezer", street bollards which have been bended out of shape and developed their own aesthetic. One piece of art is planned for the Städtische Galerie's outdoor area where the twisted bollard will enter into a dialogue with a functioning bollard.

translated by: Katharina Manitsas

"The City" on TV: ARD Mittagsmagazin

by: Meike Gatermann

30. June 2014 11.56 cet

  • ARD Mittagsmagazin

"Bettina Pousttchi - The City" being recommended by the ARD Mittagsmagazin, 19th July http://www.daserste.de/information/politik-weltgeschehen/mittagsmagazin/sendung/2014/kulturnews-mutti-floeckchen-wolfsburg-schmecken-fussball-wm-milo-100.html

translated by: Katharina Manitsas

The artist Xu Bing came for a visit to Wolfsburg

by: Meike Gatermann

27. June 2014 12.51 cet

  • The Chinese artist Xu Bing (on the right side of the picture) at Bettina Pousttchi's exhibition
    © Städtische Galerie Wolfsburg

The New York based Chinese artist Xu Bing has also visited, during his stay in Germany, Bettina Pousttchi's exhibition in Wolfsburg.

translated by: Katharina Manitsas

Bettina Pousttchi at the Art Basel

by: Meike Gatermann

20. June 2014 13.28 cet

  • Susanne Pfleger, directress of the Städtische Galerie Wolfsburg, at the stand of the Buchmann Galerie
    © Städtische Galerie Wolfsburg

At this year's Art Basel, artworks from Bettina Pousttchi can be seen at the Buchmann Galerie. Her work from the series "Squeezer" is displayed. Bollards taken out of their original context, twisted in form are speaking their own aesthetic language. In addition there is also a mural relief made of ceramics, referring to Pousttchi's "Framework" from the year 2012. The Art Basel runs until Sunday, 22nd June.

translated by: Katharina Manitsas

Finishing Work

by: Nicole Büsing / Heiko Klaas

05. June 2014 14.57 cet

  • "The City" is about to be finished
    © Heiko Klaas

Until the end of September The City will continue to amaze the residents of Wolfsburg and visitors to the city. But how is such a work created in the first place? We went to take a look at the site where the finishing work was being done . . .

A huge worktable in the hall of a large textile finishing company in North Rhine-Westphalia. But what does that mean? Finishing companies specialize in carrying out the final step in an often time-consuming production process. When they have completed their work, the client has the end product in its hands. Here, the now already printed length of tarpaulin with one of Bettina Pousttchi’s twelve skyscrapers. It’s now time for it to be ‘rolled out’, ‘cut to size’ and ‘’welded’. The employees of the textile finishing company go about their work deftly. The company KL-Druck delivered the fifteen lengths of tarpaulin punctually. A total of 2,150 square metres. A quarter of a workweek is planned for getting the completely finished product ready for transport to Wolfsburg. Cutting the lengths to size is work that is also still done by hand in the twenty-first century. An employee routinely goes along a sketched out line with large tailor’s shears. The printed length – it is actually the segment with the clock that is such a characteristic feature in Bettina Pousttchi’s work – lies flat on the table. One part of the length of tarpaulin falls into a gutter that is mounted along the table. Assembling the lengths of tarpaulin first involves working by hand with instant adhesive. It is first then that the professional high-frequency welding machine operated by several employees simultaneously is put to use. The individual segments are carefully welded together segment by segment. In the neighbouring production hall, grommets are worked in using a small machine in order to enable the tarpaulin to be mounted on the scaffolding around Wolfsburg castle later on. ‘Many individual operations are necessary – all of which are coordinated,’ the production manager explains. Four people work on the finishing work for twenty-four hours in three shifts. Bit by bit, the fifteen lengths of tarpaulin with the skyscraper motifs are put together. In spite of the time pressure, there is no sense of hectic. It will be possible to meet the delivery date. Professionals, in other words. After three intensive days of work, the truck leaves for Wolfsburg.

Nice TV report on NDR Kulturjournal

by: Meike Gatermann

29. May 2014 15.52 cet

  • Bettina Pousttchi during the hanging
    © Christian Dootz

Last Monday, 26th May, there was a nice TV report on NDR Kulturjournal regarding the installation http://www.youtube.com/watch?v=YyVkXlZK3w0

translated by: Katharina Manitsas

"The City" - Photo Installation of Bettina Pousttchi

by: Meike Gatermann

26. May 2014 13.08 cet

  • "The City"
    © Norbert Miguletz

Just in time for the prize giving ceremony at 6 pm the photo installation is hanging on the Wolfsburg castle’s facade. The citizens who came to the opening exhibition showed themselves to be impressed and the photo installation was the conversational topic of the evening.

translated by: Katharina Manitsas

The skyline is almost finished

by: Meike Gatermann

24. May 2014 14.02 cet


  • © Städtische Galerie Wolfsburg

Just one skyscraper on the north facade and one last tarpaulin on the side flanks are missing, then the transnational skyline is perfect. Today at 6 pm the award celebration and opening exhibition of Bettina Pousttchi is taking place.

translated by: Katharina Manitsas

The first length of tarpaulin are hanging

by: Meike Gatermann

23. May 2014 12.56 cet


  • © Städtische Galerie Wolfsburg

Since nine o'clock this morning the hanging of "The City" is taking place. Gradually the transnational skyline emerges.

translated by: Katharina Manitsas

The exhibition assumes its shape

by: Meike Gatermann

22. May 2014 15.07 cet


  • © Städtische Galerie Wolfsburg

Only two days left until the opening exhibition and award ceremony of Bettina Pousttchi. Tomorrow, on Friday, the hanging of the tarpaulin on the castle's facade is about to happen.

translated by: Katharina Manitsas

The exhibition is growing

by: Meike Gatermann

19. May 2014 14.17 cet


  • © Städtische Galerie Wolfsburg

Boxes and packing material are piled up in the Städtische Galerie's showrooms. The exhibition for this year's art prize winner Bettina Pousttchi is only a few days left. Three rooms on the 2nd floor are at her disposal and the opening exhibition is taking place on 24th May. Until then everything will be at its place.

translated by: Katharina Manitsas

One week to go: "The City" is taking shape.

by: Meike Gatermann

15. May 2014 14.41 cet

  • The scaffolding.
    © Städtische Galerie Wolfsburg

Only few days are left until "The City" is being completed. On Friday, Bettina Pousttchi's photo installation will be put up on the scaffolding where now you can see the scaffolding tubes, boards and loosely hanging tarpaulin.

translated by: Katharina Manitsas

How does "The City" develop?

by: Nicole Büsing / Heiko Klaas

09. May 2014 09.00 cet

  • Bettina Pousttchi at her studio, 2014
    © Norman Konrad

(Excerpt from an interview of Nicole Büsing and Heiko Klaas (BK) with Bettina Pousttchi)

BK: You are using footage for your artwork by joining, in a complex process, images together and adjusting the final construction to the architectural shape of the castle. In doing so, you change – almost as in the traditional paper collage – details and merge different proportions together. Please explain to us the process and motifs in your image composition.

BP: First of all, I have developed every building individually and then converted them to that extend that it suited the preset shape, as to become an ensemble. The original shape of the single building is sometimes more, sometimes less modified and I have examined and refined the different stadia on an architectural prototype.

translated by: Katharina Manitsas

Next week the printing is about to start

by: Meike Gatermann

07. May 2014 14.09 cet

Gradually, "The City" is taking shape. Before the artwork will be finished, a test print is going to take place next week.

translated by: Katharina Manitsas

The castle is sourrounded by scaffolding

by: Meike Gatermann

30. April 2014 12.51 cet

  • The Schloss Wolfsburg is scaffolded.
    © Städtische Galerie Wolfsburg

Done! It's a wrap. The Wolfsburg castle is scaffolded so the measuring for the photo installation "The City" can begin.

translated by: Katharina Manitsas

Skyscrapers: a small cultural history of high-rise buildings

by: Nicole Büsing, Heiko Klaas

23. April 2014 13.01 cet

  • Burj Khalifa - at the moment world's highest building
    © von marviikad from Al Khobar, Saudi Arabia

Driving towards the Tuscan town San Gimignano one can see them from afar: 15 towers which have been shaping the city’s silhouette since the 12th and 13th century. Originally, there were 72 towers and it was their job to protect the city from marauding robber bands and to express the economic and political power of the warring patrician families which used to build them. Therefore similar towers can be found in any Tuscan town. Even back then it applied: the higher the tower the greater the constructor’s power.

The skyline of San Gimignano, which is also referred to as the medieval Manhattan, is one of many examples proving the human strive to build vertically. Starting with the Egyptian pyramides, to the high-rise buildings located at the Yemeni capital Sanaa, up to Europe’s Gothic cathedrals it is clear that those buildings can be considered as the pioneers of today’s skyscrapers as we know them since 1880s were they had been primarily build in Chicago and New York. Firstly, we should perhaps clarify the terms: a tower is a building which surmounts the usual height of an aerial ladder, i.e. jutting out 23 metres. Buildings higher than 100 metres are usually called skyscrapers.

Between accommodation for the masses and luxury segment

Currently, a two-parted development appears in the United States and Europe. The population remains static and since the beginning of the economic and financial crisis 2008 hardly any new skyscrapers are build. On the contrary: numerous projects by famous architects as Sir Norman Foster, Rem Kolhaas, Herzog & de Meuron or Jean Nouvel are put on hold or are completely cancelled. Asia and the Gulf States have already replaced North America and Europe as the top engines of constructing towers.

Particularly in the Arab world, lifestyle plays an increasing role in the field of architecture. The Burj Khalifa, at present the world’s highest building with its 828 metres, was planned by Adrian Smith (SOM Chicago) and considers itself to be a “World Class Destination” as well as a symbol of international understanding. In contrast to Asian suburbias where skyscrapers serve as accommodations for the masses, prestigious skyscrapers as the Burj Khalifa serve more the illustration of its builder's grandeur as well as a kind of self-assurance for those spending a weekend at the Armani Hotel with spa and eight restaurants. And even in Manhattan, where the really big construction boom has, for now, come to a standstill is about to start its “Hudson Yards” project, including 17 single buildings. The highest building “35 Hudson Yards” measures 324 metres, has 80 floors and 250 luxury apartments. Upon its expected completion in the year 2018, “Hudson Yards” might belong to the latest residential building of the world.

Let us therefore conclude with Philip Johnson’s words, an influential American architect, who made also a name by criticising the escalating architectural-excesses: “The accumulation of high-rise buildings at a specific location is representative for a cultural stadium in which all strive for fame and appreciation – vertically. Mine is bigger than yours. This seems to be a natural force such as sex or fighting, the will to height… It is about power – power and hegemony.

translated by: Katharina Manitsas

Wolfsburg castle is going to be scaffolded

by: Meike Gatermann

14. April 2014 09.33 cet

  • Scaffolds around the castle's facade
    © Städtische Galerie Wolfsburg

Currently, the company Kunkel are working on the castle's facade. End of may, the artist Bettina Pousttchi is going to present her photo installation "The City" on the tarpaulin.

translated by: Katharina Manitsas

Transnational Skyline in Wolfsburg

by: Nicole Büsing, Heiko Klaas

07. April 2014 13.20 cet

  • Bettina Pousttchi "The City" 2014, photo installation, Facade Schloss Wolfsburg (simulation)
    © Bettina Pousttchi

The questionable urge for constant improvement in modern societies is a reoccurring subject in Bettina Pousttchi’s artwork. For her upcoming facade work, “The City – A Transnational Skyline”, on the Wolfsburg castle the artist will bring ten skyscrapers together in order to establish a hybrid scenery. There you can find buildings such as the Empire State Building, Kuala Lumpur’s Petronas Towers or Dubai’s Burj Khalifa. So far, it is the biggest photo installation for Bettina Pousttchi where she is making use of the scaffoldings surrounding the castle due to its refurbishment. On a 2,150 m² huge tarpaulin she is going to apply her photo installation, especially adjusted to the north wing and castle’s edges. Using digital images of the skyscrapers, Pousttchi has made some slightly changes but never schemed the silhouettes to that extend that they are not recognizable anymore. By taking the varying buildings into account, their fractions, their discontinuities and local heterogeneity the artist aims to challenge the latent ethnocentricity of the Western world.

Different views on modernity and the simultaneity of the nonsimultaneous amalgamates in Bettina Pousttchi’s transnational skyline, leaving diverse cultural patterns to compete against each other. Two of the buildings do not even exist anymore, as the 1908 established and in 1968 demolished New York Singer Building or the World Trade Center destroyed by the 9/11 terror attacks in 2001. The Burj Khalifa, however, has been completed during “The City's" preparation, pointing somehow to the future. Building her imaginary ‚Megacity‘ out of fragments of a vertically-striving and globally-capitalistic infrastructure, Pousttchi constructs cities which are so condensed that no space can be found between the towers. It is part of her artistic freedom to shift the proportions so that the United States, Asia and the Arab world are standing side by side. Compressing the world architecture in front of a Renaissance castle, located in the northern German lowlands, it illustrates a resonant ground for Pousttchi’s deterritorialised elements.

At the same time, one might wonder if the things which Bettina Pousttchi interrelates to one another have not already become anachronistic, historic flotsam of the 20th and 21st century. Today, economic, informational and digital power does not really manifest itself in rising skyscrapers. Headquarters of globally operating Hard- and Software companies, social networks and even the data centre of the NSA are preferably located in suburban or rural environments. Usually, the buildings are constructed horizontally in those areas. Moreover, the social-technocratic acceleration is rather taking place in the digital world than in the field of architecture. The construction of the Burj Khalifa might sound the bell for the last round of the higher-faster-wider doctrine – even when it functions primarily as a tourist attraction. Initially, it was planned to build the Nakheel Tower, twice as high, at a distance of twelve kilometres but due to the financial crisis the construction has been cancelled in 2009, for the time being. Consequently, “The City – A Transnational Skyline” can be interpreted as a farewell of this type of construction which had seen better days.

translated by: Katharina Manitsas

Simultaneity of the nonsimultaneous

by: Nicole Büsing, Heiko Klaas

03. April 2014 09.32 cet

  • Bettina Pousttchi "Doha Time" 2013
    © Bettina Pousttchi

The phenomena time and acceleration in Bettina Pousttchi's oeuvre

On January 4th, 1960, Albert Camus drove with the nephew of a publisher, Michel Gallimard, along the country road Champigny-sur-Yonne to Villeneuve-la-Guyard. Gallimard was driving the sports car when they fatally collided with an alley tree on a completely straight stretch. The rest is history. Albert Camus died on the scene, Gallimard passed away ten days later. The exact time is therefore well-known because the dashboard's clock has been slunged out of the car and stopped abruptly. The exact time: five minutes to two.

For her work, which had begun in 2008 and has been completed in 2014, Bettina Pousttchi took pictures for her “World Time Clock” series in every of the 24 time zones. After photographing clocks in public spaces, she then altered the images digitally with her typical black-and-white-raster and presented them in the same size. Whether it is London, New York, Bangkok or Seoul – all clocks show the same time: five minutes to two. It is unlikely that Camus’ time of death has inspired Pousttchi for her series, but yet getting to know this is a nice coincidence, isn’t it? The philosopher of the absurd who bemoaned the world’s senselessness and people’s alienation in it, died in acceleration, at a time, five minutes to two, where our biorhythm is at its low, where intellectual performances are usually not at its best and where bored office employees are slurping back to their bureaus.

It is exactly this marking of time which Bettina Pousttchi captures with her camera, however, we all know that time can never stand still. “World Time Clock” confronts us therefore with the notion of a consistent world time, a forced synchronisation of something asynchronous, a phenomenon which has already become reality for shift workers, call-center agents and plenty of other professionals. In many places of the world, the modern human being has lost his right for downtime.

translated by: Katharina Manitsas

Bettina Pousttchi at the Nasher Sculpture Center in Dallas

by: Meike Gatermann

31. March 2014 14.11 cet

  • Bettina Pousttchi "Louise" 2011, bollard
    © Bettina Pousttchi, Photo: Roman März

BETTINA POUSTTCHI: SIGHTINGS NASHER SCULPTURE CENTER DALLAS APRIL 12 - JULY 13, 2014

OPENING: APRIL 11 - 6pm

Currently, Bettina Pousttchi is preparing an exhibition in Dallas at the Nasher Sculpture Center. She will transform the space into an exceptional setting which supposed to refer to the place's history: a street scenery reminiscent of the former gas station and parking lots at Ross Avenue, the so-called "Automobile Row" of the 20th century. Moreover, the gallery's floor will be 'asphalted' and painted to resemble an ordinary street where selected artworks of the Nasher collection are to be 'driving through'. On top of this, multiple sculptures which Pousttchi has made of the police road blocks and street bollards will be displayed, too.

translated by: Katharina Manitsas

"The City" - So far, Bettina Pousttchi's largest photo installation

by: Meike Gatermann

26. March 2014 09.59 cet

  • Bettina Pousttchi "The City" 2014, photo installation, Facade Schloss Wolfsburg (simulation)
    © Bettina Pousttchi

The upcoming facade work is yet to be the largest installtion of the artist Bettina Pousttchi. On a 2,150 m² tarpaulin she will be applying a photo installation which covers the castle's north wing (33 metres high) and edges. This artwork is three times taller than "Echo" (2009/2010) on the Temporäre Kunsthalle Berlin. "The City" is making reference to the history of Wolfsburg as a planned city of the early 20th century. Therefore the artist constructs a cover which displays a coherent skyline of different skyscraperse which used to be the tallest buildings of their time, symbolising modernity. Wolfsburg, being a modern town, does also play an important role in Bettina Pousttchi's concept where she epitomises the dichotomy of the town's young history and the Renaissance architecture of the Wolfsburg castle where the Städtische Galerie is located in. Another reoccuring subject in her creative work are the national tendencies in global ages. Bettina Pousttchi's transnational building called the "The City" is aiming to respond to the nations which are competing for the world's tallest building.

translated by: Katharina Manitsas

Statement of the jury for this year's decision to award Bettina Pousttchi with the art prize 2014

by: Meike Gatermann

21. March 2014 10.48 cet

  • Bettina Pousttchi "Framework" 2012, photo installation on behalf of the Schirn Kunsthalle Frankfurt
    © Photo: Norbert Miguletz

Bettina Pousttchi works equally in the fields of photography, video and sculpture and deals primarily with subjects as perception of time and drawing boundaries. Asking for art in public space is a topic which occurs also in her works. It is the content-related diversity and complexity which has convinced the jury for this year's decision to honour Bettina Pousttchi with the Wolfsburg art prize "Junge Stadt sieht Junge Kunst" 2014.

translated by: Katharina Manitsas

Photographic series "Parachutes" by Bettina Pousttchi in the Städtische Galerie's art collection

by: Susanne Pfleger

17. March 2014 11.37 cet

  • "Parachutes 02", 2006
    © Bettina Pousttchi

In her artwork, Bettina Pousttchi is centred upon three forms of media: photography, video and installations. The interchange between those media forms - between movement, space and timeliness is particularly important to the artist. Consequently, photographies in "cinematographic sequences" have emerged to which "Parachutes" does belong and of which we have purchased 3 artworks. They are usually presented in a group and not individually, illustrating a certain affinity to film, as it is well known, film does also consist of several single images put together. In "Parachutes" combat helicopters, silhouettes of jets and falling parachutes within heavily clouded skies evoke a certain sense of danger and threat. The association of violence, war and invasion comes automatically to mind. The question of Where? and When?, however, remain unanswered. Due to the interminable processuality in which the images are embedded as well as the focusing on the highest degree of imagery, Bettina Pousttchi manages it perfectly to convey an emphatic knowledge of the unthinkable.

translated by: Katharina Manitsas

"The City" - Upcoming photo installation for the Wolfsburg castle

by: Meike Gatermann

28. February 2014 14.35 cet

  • "The City", 2014, photo installation (detail)
    © Bettina Pousttchi

So far, the biggest facade work of Bettina Pousttchi is scheduled in Wolfsburg. The artist will apply a 2,150 m² photo installation on the castle's north wing (height 33 metres) and edges, illustrating a coherent skyline with different skyscrapers. The current artwork is three times taller than "Echo" at the Temporäre Kunsthalle Berlin and in general, 'height' is playing an important role in Pousttchi's concept. "The City" is not only making reference to the history of Wolfsburg, a planned city of the early 20th century, but also referring to the history of skyscrapers, the icon of our modern times.

translated by: Katharina Manitsas

Lounge-Chat at Berlin's Münzsalon

by: Meike Gatermann

21. February 2014 12.07 cet

  • Lounge-Chat with Bettina Pousttchi at Berlin's Münzsalon

Wednesday evening, 7 pm. The first guests are arriving - and the beautiful rooms of the Münzsalon in Berlin-Mitte became crowded and crowded. The Städtische Galerie Wolfsburg has invited to the Lounge-Chat with Bettina Pousttchi. Alongside the artist herself, the directress of the Städtische Galerie, Dr. Susanne Pfleger, collector Julia Stoschek and host Max Dax, chief editor of Electronic beats, were present. Max Dax has charmingly guided through the evening and was also able to educe some interesting details about Pousttchi's next project in Wolfsburg, as well as aspects of her creative work. In a relaxed atmosphere further discussions took place.

translated by: Katharina Manitsas

Photography as an architectural intervention

by: Meike Gatermann

13. February 2014 14.09 cet

  • Bettina Pousttchi "Echo" 2009/2010, photo installation, Facade Temporäre Kunsthalle Berlin
    © Bettina Pousttchi

Architecture plays an important role in the artwork of Bettina Pousttchi as she has shown in her work "Echo" in the year 2009/2010. She covered four outer walls of the former Temporäre Kunsthalle Berlin with a photo installation, displaying an afterimage of the demolished Palast der Republik. "In June 2009, when I was commisioned to do a project for the facade of the Temporäre Kunsthalle, the Palast had just been finally demolished, and the green lawn had just replaced the demolition site that had been there for so many years. At that particular moment, the sense of Verlust, loss, was extremely palpable. It was a strange moment, because the building was already gone but it was somehow still there - like an afterimage of the retina. I found this situation fascinating. I wanted to construct an afterimage - not an identical replica of the building but rather a visual echo. I was interested in the question of memory and how history and architecture get dealt with. How will the Palast be remembered? What is the role of photography in this process?", Bettina Pousttchi in an interview from her book "Echo Berlin".

translated by: Katharina Manitsas

World Time Clock - 5 minutes to 2 o'clock

by: Meike Gatermann

07. February 2014 13.38 cet

  • Seoul Time", 2011, Photography, 47 x 59 in
    © Bettina Pousttchi

The Berlin-based artist, Bettina Pousttchi, has become known by her work "World Time Clock" (2008-2014) in which she flew around the world in order to take pictures of all the different time zones, photographing clocks at exactly five minutes to two. In doing so, the artist has somehow interlinked cities as New York, Bangkok, Seoul and London conveying a sort of synchronicity. All images include a black-and-white-raster which covers the whole motif and for that reason an additional flat is created between image and its viewer, intensifying our perception. As a result, we experience a mediatised representation of reality (excerpt of an interview,"Schirn Magazin").

translated by: Katharina Manitsas

Bettina Pousttchi - Prize Winner 2014

by: Meike Gatermann

30. January 2014 13.00 cet

  • Bettina Pousttchi
    © Bettina Pousttchi, Photographer: Norman Konrad

Bettina Pousttchi - Prize Winner 2014

The German-Iranian artist Bettina Pousttchi is this year's recipient of the Wolfsburg art prize "Junge Stadt sieht Junge Kunst" 2014. The prize is coupled both with an exhibition in the Städtische Galerie in May 2014 and with a considerable publication. All in all, the award includes prize money of 80,000 euros. Furthermore, the Galerie will purchase some artwork for its collection and besides the exhibition, Bettina Pousttchi is going to present a new work on the castle's facade, referring to the castle's architecture as an exhibition venue.

translated by: Katharina Manitsas

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