Exhibition opening of "[Probe]Räume", Märkisches Museum Berlin
Premiere of our short documentary „Blending In“ at Docaviv Fllm Festival, Israel
The short documentary "Blending In" was selected to be part of
First shooting session of the documentary "Invisible Heroes", Cologne
The Museum of Innocence at Somerset House, London
Screening of "Istanbul Collecting" at the Literature Festival Mantova, Italy
The documentary "Invisible Heroes" gets funded by the Film- und Medienstiftung NRW
Screening of "Istanbul Collecting" at the Barbican Centre, London
“Hacked Design in political protests” becomes part of the publication „Design and Violence“ by Paola Antonelli und Jamer Hunt, MoMA Publishing
The new website for projects in collaboration with designer Carlotta Werner is online
The Museum of Innocence is named “The 2014 European Museum of the Year”
What is a Museum? Who decides, which object are being presented in the museum? What does it have to do with me? The new exhibition [Probe]Räume, that deals with these questions, takes part in 8 rooms of the Märkisches Museum of Berlin. The huge historic museum will undergo great changes in future, in order to become the central City Museum of Berlin. The new exhibition, curated by Constanze Schröder, is one of the first steps during this process and is opening on 21st of May. It has been designed by Johanna Sunder-Plassmann and Carlotta Werner, in the name of Sunder-Plassmann Architects.
Logline: Homeless, Ionel sleeps on a bench in Cologne Airport. He earns more, pocketing bottle deposit money, selling newspapers and begging than in a regular job back home in Romania.
The film is part of the German-Israeli project OUT OF PLACE – directors from both countries produce 10 short portraits of individuals living ‘outside’ society.
Director and Editor: Tama Tobias- Macht, Johanna Sunder- Plassmann, Cinematographer: Sophie Maintigneux, Sound recording: Filipp Forberg Production management: Igor Novic, Production: One Two Films GmbH Berlin, Funded by Gesher Multicultural Film Fund, Israel. European Union.
The film explores the turbulent lives of homeless persons in Cologne, Germany. Through their personal belongings the homeless share with the viewer their memories and emotions, and provide insight into the secrets of survival on the street. In the luminesence of night, their sleeping spaces filled with their collections of personal artifacts, are evocative of museum showcases. The film is in the stage of finalization. It is funded by the Film- und Medienstiftung NRW and has been selected for production by the Franco-German, European TV channel, Arte. Producer: unafilm
The project explores the variety of objects, like pump sprays, goggles and toilet brushes, which appear during the worldwide demonstrations. They are proof of the creative energies that are released by mass movements, and show the ambivalent effects of these dynamics. The project wants to collect, discuss and reflect on this global crowd-sourced design process. We are looking forward to read your statements at MOMA's comment section or on facebook.
This film tells the story of the creation of The Museum of Innocence by the Turkish author and Nobel laureate Orhan Pamuk in the neighborhood of Çukurcuma in Istanbul. „Istanbul Collecting“ follows the meticulous artistic process involved in setting up the museum and shows the work and imagination of Orhan Pamuk and his team in realizing his literary ideas visually and freely in the space. At the same time it presents the design team’s search for the many objects described in the novel, a search that leads them into the hidden apartments and shops of Istanbul collectors, who all have their own stories to tell about them.
Between 2009 and 2012, Johanna Sunder-Plassmann realised the gesamtkunstwerk, “Museum of Innocence” in collaboration with product designer Carlotta Werner and nobel laureate Orhan Pamuk. The project entailed the development of an exhibition concept and the realisation of the long term artistic process of constructing three dimensional compositions in vitrines, which the Museum would then transform into an installation. Her particular interest was aimed at constructing a complex microcosm around the author which tried to spatially embody his literary ideas. She found inspiration in the paradox of the Museum not seeming like a “contemporary art museum” while, in a certain sense, simultaneously being one. Though it may cite modern art, it is rather the simulated imagination of a fictive collector and a formal balancing act between old and new. In April 2012, the museum was opened with great international attention.
Room concept and execution on behalf of BTF GmbH Cologne, curated by Anna Fricke and Hans-Peter Reichmann.
Excerpts from Fassbinder’s films – a total of more than 60 minutes viewing time – make his motifs and aesthetic methods clear. Juxtaposed with them for comparison are works of contemporary video artists. They thematically and aesthetically connect to Fassbinder’s work; they seize upon individual themes, recreate scenes from his films and transfer his concerns to the present. The artists’ works show what binds Fassbinder’s active period to the present day, but also where the differences lie. At a higher level, one is dealing with the question of how the cinema leaves its mark on current artistic media, as well as the question of the extent to which the boundaries between film and video art blur in the digital era.
In the video work “storms”, a piece of national patriotism in the form of the north german pirate song “Wir lieben die Stürme” (we love the storms), is placed against the backdrop of a waterfall in Tyrol. A singing Johanna Sunder-Plassmann tries to identify with a native buccaneer feeling despite the unfamiliar natural violence of the waterfall and her Dirndl. Here, she is interested in the diverse building blocks which lead to the formation of an identity and create a sense of meaning in ones own actions. The work was shown in the exhibition “Mythos und Heimat” at the Gasthof zu Holzgau in Tyrol as well as the “langen Nacht der Videokunst” in Potsdam.
This work experiments with the space defining effects of uniforms and the people who wear them. Members of different professional groups appear in varying constellations on four free standing projection screens at the end of a room. The police, clergymen, game keepers and fire men stand across from each other in pairs or are seen from behind. As one disappears or another joins, the density and meaning of the individual figures begins to shift. For her graduation work at the Hochschule für bildende Künste Saar, Johanna Sunder-Plassmann took still shots of over 50 protagonists, for several minutes.
A colossal man moves around painstakingly and searchingly behind a shop window. He’s wearing a suit and is unsuccessfully trying to find a comfortable position in the narrow space. This public installation creates a situation in which a “normal” person is removed from the environment that would normally establish his identity and can be observed in search of himself. The work was displayed in several display windows in Saarbrücken, Kaiserslautern, Ludwigshafen and Luxembourg.
Johanna Sunder-Plassmann was born in 1983 in Munich. She lives and works in Cologne. She studied fine art at the Hochschule für Bildende Künste Saar in Saarbrücken as well as the Accademia di belle Arti in Milan. From 2008 onwards she pursued her post graduate studies at the Kunsthochschule für Medien in Cologne and graduated in March 2013 with a degree in Media Art. Between 2009 and 2012, she was intensively involved in the reconstruction of Turkish author, Orhan Pamuk’s “Museum of Innocence”. In the course of preparing the exhibition, she spent 15 months in Istanbul. Parallel to that work, she also filmed a documentary about collectors in Istanbul which celebrated its premier in Montréal in March 2014. She has been researching the repurposed every day objects, which appear in political protests throughout the world. Currently, she is finalizing an experimental film about the personal belongings of homeless people. Other than than, she designed exhibitions for several museums, such as the German Film Museum in Frankfurt and the Märkisches Museum in Berlin.
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