If only concrete could talk! What stories would the walls, floors and ceilings of this bunker tell us? Built by the Nazis using forced labour, a warehouse for Cuban fruit, Techno parties and sex fairs, finally a home for Art.
1941: Planning of the “Friedrichstrasse Imperial Railway Bunker” by Karl Bonatz under supervision of Albert Speer, “General Building Inspector for the Reich Capital”.
1942: Construction of the bunker as an air-raid shelter for the civilian population, built by forced labourers.
1945: Bunker occupied by the Red Army and used for prisoners of war.
1949: Use as textile warehouse.
1957: Converted into warehouse for imported tropical fruit from Cuba, managed by state-owned company “Fruit Vegetables Potatoes”. Known locally as the “banana bunker”.
1990: After German Reunification, the building becomes the property of the federal government.
1992: Techno music and fetish parties mean that the bunker gains a reputation as the hardest club in the world.
1994: Deutsches Theater stages Simon Donald’s Lebenstoff (“Stuff of Life”) on the bunker’s fourth floor.
1995: “Sexperimenta”, a giant erotic trade fair.
1995: The New Year’s party “The Last Days of Saigon” is banned but nevertheless takes place. The authorities close the bunker.
1996: Art exhibition Files featuring Olafur Eliasson, Daniel Pflumm, Ugo Rondinone and others.
2001: Nippon Development Corporation GmbH acquires the bunker.
2003: Christian Boros purchases the bunker to convert it to house his collection.
2007: Completion of the renovations and first public showing of installations.
2008-2012: Collection #1, first exhibition of works from the collection attracting 120,000 visitors in over 7,500 tours.
2012-2016: Boros Collection #2, second exhibition of works from the collection attracting 200,000 visitors in over 9,000 tours.
In the Bunker artworks from the Boros Collection are exhibited.
Artists shown in the present exhibition Boros Collection / Bunker #3:
Martin Boyce, Andreas Eriksson, Guan Xiao, He Xiangyu, Uwe Henneken, Yngve Holen, Sergej Jensen, Daniel Josefsohn, Friedrich Kunath, Michel Majerus, Fabian Marti, Kris Martin, Justin Matherly, Paulo Nazareth, Peter Piller, Katja Novitskova, Pamela Rosenkranz, Avery Singer, Johannes Wohnseifer
Artists featured in the second show Boros Collection / Bunker #2:
Ai Weiwei, Awst & Walther, Dirk Bell, Cosima von Bonin, Marieta Chirulescu, Thea Djordjadze, Olafur Eliasson, Alicja Kwade, Klara Lidén, Florian Meisenberg, Roman Ondák, Stephen G. Rhodes, Thomas Ruff, Michael Sailstorfer, Tomás Saraceno, Thomas Scheibitz, Wolfgang Tillmans, Rirkrit Tiravanija, Danh Vo, Cerith Wyn Evans und Thomas Zipp.
Artists featured in the first show: Boros Collection / Bunker #1:
Michael Beutler, John Bock, Olafur Eliasson, Elmgreen & Dragset, Kitty Kraus, Robert Kusmirowski, Mark Leckey, Manuela Leinhoß, Sarah Lucas, Kris Martin, Henrik Olesen, Manfred Pernice, Daniel Pflumm, Tobias Rehberger, Anselm Reyle, Bojan Sarcevic, Santiago Sierra, Florian Slotowa, Monika Sosnowska, Katja Strunz und Rirkrit Tiravanija.
Credits: NOSHE and Wolfgang Stahr
A self-taught artist, who developed her passion for art thanks to her family. Having studied for many years with a Belgian Expressionist artist in Switzerland, she developed her own aesthetic and style of painting. Primarily painting portraits of women, she focuses her works in the feelings of her subject, as for example in ‘The Scream’. Her works have been exhibited internationally and are exhibited in MOCA (Museum of Contemporary Art) in Beijing. During Art Basel, she showed her works at Scope Art Show.
PETALS FROM TOKYO BY SERGIO CALATRONI
According to Sergio Calatroni, “Petals from Tokyo” is the result of personal research into beauty and it is essentially composed of photographs of petals.
Calatroni’s pictures give birth to a poetic and exclusive collection composed of eight photographic subjects proposed in the form of wallpapers, synonymous of trends and visual experimentation up to the limit of a masterpiece, capable to turn the surface of a wall into an original scenography.
“In my artistic investigation over the past five years I have sought to research the complex relationships between harmony and disharmony within each individual work.”
Born in Belgrade in 1970, Komadina has a diploma in fine art from the Academy of Fine Arts in Venice. Since 1992 he has developed his back painted glass technique with oil paints, metallic leaf and precious metals. He founded the Akademeia Art Studio of Lignano Sabbiadoro and Latisana, Udine province (UD) and was its director from 1996 to 2009. From 2007 to 2010 he was head of restoration for all the works of art aboard the historic transatlantic SS Rotterdam, The Netherlands. He founded the cultural Association “Plus Oltre” in 2002 and acted as its president until 2008. He is secretary of AC “Plus, Oltre” since 2008.
He currently lives and works in Belgrade, Serbia and Udine, Italy.
“Studying the complex relationships between harmony and disharmony. The pairing of elements to communicate the idea of depth, material, static condition and a metastable existence of things. The irony present in my paintings recalls the relativity of words, meaning, the knowledge and perception of reality.”
“In my artistic investigation over the past five years I have sought to research the complex relationships between harmony and disharmony within each individual work. This has presented me with an endless source in the exploration of a new aesthetic horizon. The marriage of these discordant elements and their union in a harmonious work is an exploration of the extremes of my pictorial language. The study of physics, metaphysics and relativity has always been present in my work. It is communicated through geometric elements (the Cartesian system), beams of light (subtle golden lines), the use of bichromatic colours, the pairing of elements to communicate the idea of depth, material, static condition and a metastable existence of things.”
“Analogously, the irony present in my paintings recalls the relativity of words, meaning, the knowledge and perception of reality.“
Credits - Milos Komadina