curriculum vitae 2017 spring performance festival 2017...
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Curriculum Vitae
Johannes Büttner
2015-2017 Participant at the de Ateliers, Amsterdam 2013-2015 Fine Art Master „Art in Context“ at the University of the Arts Berlin 2013-2014 Meisterschüler of Prof. Fons Hickmann 2011-2014 Art Director - Groove Magazin 2010 Founding member of the design agency AEIOU 2009-2010 Media studies at the Musashino Art University Tokyo Since 2008 Art Director - Hate Magazin 2006 -2012 Studies of visual communication at the University of the Arts Berlin
Awards and Stipends2015 – 2017 Participant at de Ateliers, Amsterdam 2015 shortlisted for Berlin Art Prize2009 – 2012 Stipend at Studienstiftung des deutschen Volkes2009 – 2012 shortlisted for the Lead Awards, HATE Magazin2008 100 beste Plakate Deutschland Österreich Schweiz
Solo Shows2018 Simultanhalle Köln (upcoming)2017 The Tip, Bangkok, Thailand 2014 E2, Universität der Künste Berlin, DE2014 E, Salon MUTLU, Berlin-Wedding DE2012 ZOZ [Dahdahdididahdahdahdahdahdidit], Universität der Künste Berlin, DE2010 The things that dreams are made of, M, Tokyo JP
Selected Group Shows, Screenings, Performances, Stage and Set Designs
2017 Crash Test, La Panacée, Montpelier (upcoming)2017 Let’s see, where were we? In the pit of despair. Amsterdam Art Weekend 2017 I WANNA GIVE YOU DEVOTION, Platform, München, DE2017 Liefern, (performance) Basis, Frankfurt DE2017 Power Nap, Stedelijk Museum, Amsterdam, NL 2017 Bei Cosy, Rong Wrong, Amsterdam, NL 2017 Deep State, De Ateliers, Amsterdam, NL 2017 Triple Chance, Lange Nacht der Mussen, Frankfurt, DE 2017 Rumors of Glory, Basis, Frankfurt, DE
2017 Spring Performance Festival 2017, Amsterdam, NL2017 Why is everybody so nice, de Appel art center, Amsterdam, NL2017 Faustgroß (stage and costumes), ADK Ludwigsburg2017 belong anywhere, Berlin DE 2017 Intersections Art Rotterdam, Rotterdam NE 2016 Am Hang (stage and costumes), Gallus Theater, Frankfurt DE2016 Smile (set design), Film, DE2016 Peak Panic (performance for the UBS Bank of Switzerland), de Ateliers Amsterdam, NE2016 Gabber Nation, Kunsthuis Syb, Beesterzwaag, NE2016 do things people like (performance), Berliner Festspiele, Berlin DE2016 Welcomewelcome (performance), Sarphaati Park, Amsterdam DE2016 Channel Sunday (performance), Channel Gebäude, Hamburg DE2016 Séance 1: Survival (performance), Acud macht Neu, Berlin DE2015/2016 Always on, Schule des Sehens, Mainz DE 2015 Berlin Art Prize 2015, District, Berlin DE2015 Kongress der Möglichkeiten, Kuntraum Kreuzberg/Bethanien DE2014 Global Viral, Kunsthaus Kat, Cologne DE2012 ZOZ [Dahdahdididahdahdahdahdahdidit], (screening), Airplane gallery New York, USA2010 Hug me heimlich, Rheinlandhalle, Cologne DE2010 Surface, Musashino Art University Tokyo JP
Curatorial Projects 2015 Kongress der Möglichkeiten, Kunstraum Kreuzberg/Bethanien, DE2017 belong anywhere, Acud macht Neu, DE
Teaching 2013/14, 2015 Guest lecturer at the Bauhaus Universität Weimar DE
Various bakers, Deep State, de Ateliers, Amsterdam 2017
To live together at the heart of the desert with the same resolution to never reconcile ourselves with it, such is the ordeal, such is light.Deep State, de Ateliers, Amsterdam 2017
Sand from underneath the building of de Ateliers, found metall, hotel towels, concrete, plaster, jewelry of the artist mother, screen, video file, shells, lamps, wire, plastic bags, sound by Johannes Klingebiel
Johannes Büttner combined five cakes baked by the best Amsterdam bakers in an installation that seems to talk of a place where civilisation ends; the cake dimensions will dictate the prize of the resulting art work. He likes to play with the economic system of immaterial value production yet situates it in a world that seems to be falling apart ma-terially. Text: Martijn Hendriks
www.metropolism.com/nl/features/31601_offspring_2017www.nrc.nl/nieuws/2017/05/17/nieuwe-lichting-de-ateliers-maakt-vooral-dystopisch-werk-9239045-a1559225www.lost-painters.nl/eindexamen-expositie-de-ateliers-deep-state/
Liefern Basis, Frankfurt 2017
I ́m lip reading from Snow Crash: Hiro Protagonist, the deliverator, has the job to deliver pizza in 30 mins or his employe Cosa Nostra Pizza will execute him as a peneal-ty. While I ́m lip reading and eating the accelerating text 15 different Foodora and Deliveroo drivers are delivering each a Phad Thai and a Thai Curry. I chat with them about labour conditions and the value of work.
From the press text: Neil Stepheson‘s novel “Snow Crash” came out in 1992 and portrays an anarcho-capitalist dysto-pia. In this world in which all institutions have been priva-tized, fierce competition prevails, holding sway over life and death. That same year, artist Rirkrit Tiravanija created the piece “untitled (free)”, a blueprint for so-called ‘relatio-nal aesthetics’. By gathering and eating together in an art space, the relations between the participants took central
stage and their community was celebrated. On arrival in the future, Johannes Büttner invites us to gather round a table again, to read from “Snow Crash” and re-digest Nicolas Bourriauds` concept of relational aesthetics.
http://basis-frankfurt.de/de/node/707
Bei Cosy, Bar furniture in cooperation with Philipp Gufler and Richard John Jones, Wrong Rong, Amsterdam 2017
Bar furniture out of concrete, found metal and fabric
Bei Cosy is a somewhere between an exhibition, a bar and a costume party, taking place over 4 weeks in the belly of Rongwrong in Amsterdam. The project will feature a roster of invited artists hosting events every Friday and Saturday night and a series of newly commissioned works entitled Fingerbekenntnisse. Taking its name from a celebrated bar in Munich run by the artist Cosy Pièro from 1962–82, the project will pay homage to her work, the significance of her bar and its active position in the sexual politics of the time.
Although many of the patrons of Bei Cosy are today cele-brated figures or have faded into obscurity – together they represent an essential yet fragile history, a complex inter-woven web of art, sex, inclusion/exclusion, gender identity and sociability. It is these moments that become ‘lost’ or forgotten within mainstream historical accounts. This new Bei Cosy is intended to critically address the role social spaces play in our social, sexual, artistic and political lives – creating a new context for particular histories and archi-
val material to emerge amongst new works and an interge-nerational community of artists.
http://barchive.website/
Invited Artists: AA Bronson, Johannes Büttner, Johanna Gonschorek, Philipp Gufler, Caspar Jade Heinemann, Fabian Hesse, Richard John Jones, Evelyn Taocheng Wang, Sands Murray-Wassink
Fingerbekentniss: Bandit, Xerox prints, glue, different coloured bandanas
The Comfort of Things, 2017, 11 min performance in collaboration with Benedikte Bjerre and Helge PetersInstallation view: "Why Is Everybody Being So Nice? The Power Nap”, Stedelijk museum, Amsterdam, NLPhoto: Konstantin Guz
At a contemporary art event like so many others, right in the middle of everyone yet un-heard by anyone, a champagne glass, a pill, a croissant, a suitcase, and a cell phone find themselves having a little break and a talk, as workers do.
http://whyiseverybodybeingsonice.deappel.nl/concrete/index.php/chapters/parachuting-phenomenon-intro/comfort-things
Gabber Nation 2.0 takes as point of departure the birthplace of gabber: Rotterdam. In the early 1990’s the city of pounding construction sites and harbor activity seemed to inspire the beat of hardcore music. This radical electronic music style soon took over the Rotter-dam party scene, with raves being held in legendary venues like the Energiehal and club Parkzicht. The sense of destruction also lives in the work of Johannes Büttner and Basti-an Hagedorn. Creating their own beats with their Jackhammer machine, they seem to pay tribute to Rotterdam as city of the working class. The development of gabber music in
Rotterdam has often been related to the industrial sounds of pounding ‘heipalen’ (the dri-ving of building piles) that characterized the soundscape of the city. The hammering of the machine, together with sounds of the city and the iconic Roland TR-909, create a sound-track to Gabber Nation 2.0. Relayed through 1990’s stereo systems the installation evokes the nostalgic notion of teenage angst and their escape into music. Text: Agnes Winter
https://www.youtube.com/watch?v=2UgNDCL8jaQ<
Gabber Nation 2.0 with Bastian Hagedorn, Intersection Art Rotterdam 2017
Untitled (Survivalist) 2017, various medias, size variable
The collective project GABBER NATION focused on gabber culture in Friesland and on the idiosyncrasies of the sub-culture with in the rural area. While the „Heipalen“ sound inspired the industrial gabber bass drum of Rotterdam, the village Beetsterzwaag is in contrast, a quiet and peaceful place. How does the urge for destruction, that every young soul feels, find its way in an environment like this?The video installation is based on the youtube video „Jophok Bom 31 dec 2007 Beetster-zwaag“, in which juveniles from Beesterzwaag blow up a pavillion next to the exhibition
venue. I commissioned a gabber music track for one bass drum by Bastian Hagedorn. The video was than looped, partly slowed down and cut so that everytime when the bass-drum dropped, the pavilion exploded. The sound was transmitted through devices which were suspended from scaffolding or buried in the ground. These devices were positioned strategically throughout the venue and in the garden. The devices where inspired by ma-nuals found in nerdy internet frorums for Hifi-, car tunning, bombs and drug labatorys.
Jophok Bom 31 dec 2007 Beetsterzwaag Videoinstallation at Kunsthuis Syb 2016
VideostillThe installation contains a Video file, a sound piece and different materials found on sight
Channel Sunday Performance, Harburg Hamburg 2016
The „Chanell“ building in Harburg, Hamburg stands as a symbol for the „Hightech-buissness at the domestic port“. It was build and used during the „new economy boom“ until the dot-com bubble bursted. Right now its offices are used as artist studios. Out of a window at the highest level you can see across the moorland. A computer screen which is installed in the middle of that window is showing a live stream via the App Pe-riscope. The stream comes from a self-phone which is connected to devices for shooting firework rockets, built out of a selfie-stick. The visitors were watching my expedition across the moorland, as i came torwards them, through a split-
screen (window/monitor with live stream on it). As I come closer, I shoot fireworks in their direction which they can see live, out of the window and with a little time delay out of my perspective. The closer i come towards them, the better they can see the explosions in the sky. The visitors at the „Chanell“ building, as-well as every other Periscope user, can comment live on my performance. From the room next door you can hear a slow pitched music loop taken from „Carlys Song“ by the new age band Enigma.
http://www.channelsundays.net/review-johannes-buettner-benjamin-van-beb-ber-cannel-sundays.html
Channel Sunday route
The Channel building
lamp/LED
projection
photo paper
alaun battery
For this project, I researched the pseudoscientific ‚free energy` movement and contacted people through the internet, who have claimed the invention of a machine that self-sufficiently produces energy. I photographed these machines with an analog camera. The machines expose themselves as they are lit by the bulbs. The elec-tricity for the bulbs is being supplied by the electricity emitted from the machines.
After the analog developing of the negatives, I manually exposed a print onto photo paper. The light source used for this procedure was also supplied by the electricity emitted from this very machine.
The result are prints which are recording the energy in-vested in their own making.
Autarkic Photographs, method description 2014
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Autarkic Photographs, installation view Berlin Art Prize 2015
Be preparedPerformativ workshop with clients from the swiss UBS Bank
The Workshop was held for clients of the swiss UBS Bank. I taught them how to master different crisis scenarios (whe-ther life-threatening, financial or artistic in character). The participants built tools and devices to survive, such as water fil-ters, gas masks and weapons, all impro-vised from everyday products.
Case 2016
Case, paper, concrete, metal structures, plastic tube structures, straps, cope throw-up, various objects refering to an fictional sub-culture, root
The weight of the concrete sculputres is identical as the weight of the exhibted body parts of Case.
Orgon and Tachyonen Photographie: the photo material (photo reel and photo paper) was a: put in a orgone accu-mulator for 24 hours (following a construction guide by Wilhelm Reich) b: sprayed with Tachyonen (bought from amazon.com) Flying Carpet: laser cut carpets Battery (first try): energy drinks, concrete, copper sulfate, distilled water, copper cable, felt, voltage measurement device
Accumulator 1: 100 litre humus soil, copper cable, car radio, gabba-loop, copper crystals, homoeopathic pill, ore and copper oxide, energy drinks, wood billet, chassie, heating pipe Autarkic Photo-graphs: photo prints produced using the autak photography me-thod (explained on page 5), wooden boxes, bitumen
Multimedia installation with home-made batteries and an accumulator as well as videos, objects and signi-fiers that refer to energy fields, energy problems and the transformation of energy. It remains unclear for the vie-wer which of the devices actually fulfil their purposes, and which only seem to. Concrete experiments merge with fictional narratives.
E 2014
The everyday business of metal theft revolves around dismantling grounding cables and pipes or stealing scrap for the purpose of melting them and selling the captured metals. Specialized work techniques call for special tools. I commissioned tools for copper thie-
ves from several artists, which I then further altered and demonstrated in action. The tools are presented as devices in the photo series Copper Thieves. In the exhibition their vari-ous functions were documented with videos and experimental set-ups.
Copper Thieves: photo series published in De:Bug magazine, 2013, exhibition at Salon Mutlu curated by Zoë Claire Miller, Berlin, 2014
Triptych: with Alexander Seeberg-Elverfeld: embroidered bomber jacket with arm braids 3 Kilo Copper: copper ingots with a stock ex-
change value of 19,42 Dollar, cable ties
Divining Rod (Proof 1): with Nina Hollensteiner: screen, videofile Goggle: with Joscha Schell: bottle of korn, cop-
per wire, lens, wooden shelf
Battery (first try): energy drinks, concrete, copper
sulfate, distilled water copper cable, felt, voltage
measurement device
Crystal Battery: alaun battery, wires, LED´s,
steel, wood plate, energy drinks
A E I O U
Kupferd i e b e
MartinBeanie: Carhartt Pulli: Soulland Hose: Carhartt Schuhe: Adidas
Dariusz: Jacke: Ben ShermanSchuhe: Adidas Slvr
Dariusz, Martin und Dimitri:Jacken: Transform-Tryptichon; Johannes Büttner
Dariusz Hose: Levis
MartinHose: Soulland Sneaker: Onitsuka
DimitriHose: Y3
Font – die Öffentliche von Strobo
Rute - Nina Hollensteiner
Rucksack – Llot llov 3 zu 1 Eurasienstab – Johannes Büttner Walking Palmtrees (Pseudoüberbrückungsablei-ter für Erdungskabel) – Johannes Paul Raether
Copper Thieves: fashion photospread for De:bug Magazin #148. Magazin for electronic live aspects. Styling and special tools for the copper theft by Johannes Büttner and contributing artists
Interview with a Copper Thief, Performance at Salon Mutlu, Berlin, 2104
Hidden behind a shadow sreen, a professional cop-per thief answers questions from the audience. Tech-niques, distribution channels and perspectives on copper theft are discussed.
2) The interview
Loot: temporary installation during the performance, in front of the gallery Mutlu1) The enteringInvitation to the performance
Dark Enterprises, lecture performance with Helge Peters, 2014, 2015
Accompanying text: “Don‘t be afraid of the apocalypse! Peak oil? Overcome your mental barriers and let cosmic energies flow. Hunger strike? Optimize your survival skills! One man‘s crisis is another man‘s chance. The coaches Johannes Büttner & Helge Peter will help you hone your Armageddon entrepreneurial skills.”
The workshop provided instructions, plans and exercises to give the participants an advantage in the worst-case scenario. We trained wilderness survival skills, building bombs, manufacturing drugs, sabotage, as well as going underground and covering the tracks of our existence. The instructions, as well as a theoretical analysis of the
workshop themes, were collaged from texts and construc-tion plans from different sources:Anarchist Cookbook, brochures of the German armed forces and their Department for Future Analysis, the Federal Office of Civil Pro-tection and Disaster Assistance, Feral Faun, K-Hole, Michael Ruppert Phoenix, Class War Council Survivalist Forum, Timothy Mitchell, Tiqqun
Left overs: including DIY weapons, DIY candles, DIY drugs, DIY battery, DIY time
detonator and others
Séance I: SurvivalPerformance mit Philipp Schönthaler und Philipp Goll, Acut macht Neu, Berlin 2016
“Überlebenskünstler suchen die Katastro-phe, Prepper tun alles Erdenkliche, um sie zu vermeiden. Ihre Techniken, um zu über-leben, beruhen auf einem Verständnis des Lebens, das erst im Angesicht des Todes lebhaft wird. Sie fragen: Wie viel Kerzen brauchen wir, um ein halbes Jahr zu über-leben, wenn die Bombe hochgegangen ist? Lendenschutz besser aus Birkenrinde oder Mikrofaser? Welche Würmer geben die meiste Energie? Wo gibt’s die günstigsten Konserven? Und welche Rolle spielt die Kunst, was lernen wir aus der Philosophie!? Jacques Derrida: „Überleben (survie) ist ein ursprünglicher Begriff, der die Struktur selbst dessen darstellt, was wir Existenz oder Dasein nennen. Wir sind strukturell ge-sehen Überlebende.“ Eine Anwendung von Survival Literatur.
Kongress der Möglichkeiten, zusammen mit dem Hate Magazin, Ausstellung und Kongress vom 30. April - 10. Mai 2015 im Kunstraum Kreuzberg/Bethanien, www.hate10.com
Auszug aus dem Pressetext: Raus aus dem Fatalismus! Rein in die Möglichkeiten!Seit den 90er Jahren ist vom Ende der Geschichte (Francis Fuku-yama) die Rede. ungefähr genauso lange erleben wir die einver-leibung jeder noch so kleinen Utopie, jeder Subkultur durch all-mächtige Marketingmaschinerien, so dass wir heute die in Empire diagnostizierte „Welt ohne außen“ (Michael Hardt/Toni Negri) als klaustrophobischen Dauerzustand ohne Interventionsmöglichkei-ten und Hoffnung auf Umbruch erleben. Mitverantwortlich dafürist unter anderem die technische Innovation Internet, die das soziale, geistige und kulturelle Leben nachhaltig verändert hat. Informati-
onen zu jedem ereignis sind umgehend in Form von Videos, Bil-dern, Tweets, Statusmeldungen oder Artikeln im Netz verfügbar und damit verwertbar. Wie sieht eine konkrete Praxis in der digitalen Gegenwart aus?Die veränderten technischen Voraussetzungen und das konsta-tierte Ende der großen Erzählungen sind für uns ein Neuanfang. Mit hilfe von kunst und Performances, Podiumsdiskussion und Workshops, Theater- und Filmaufführungen wollen wir gemein-sam mit den Teilnehmenden Fragen stellen und mögliche Antwor-ten erarbeiten.
Möglichkeitsmensch, zusammen mit Manuel Birnbacher
kunstraum kreuzberg/Bethanien
30. april - 10. Mai 2015
Radikalisierungsraum, zusammen mit Hate Magazin, Swype Right und Live from EarthBartholl, AramBecker, Lars KarlBeifuss, ArturBirnbacher, ManuelBrinkmann, JörgBuckley, SimonChristl, WolfieColeman, GabriellaCrowle, Joshuade Brito, CarlosDomanović, AleksandraDowney, BradDresel, DominikEhlers, SaskiaElektraEngster, FrankEscher, AliceFeigelfeld, PaulFoxitalicGagnon, DominicGiesemann, ElisabethGiligan, ConorGlaser, PaulaGottlieb, BaruchGuffond, JasmineHeidenreich, Stefan
Herfurtner, CorneliaHoppenstedt, MaxKayaci, SenolKaltheuner, FrederikeKleiner, DmytriKlingebiel, JohannesKöhn, SteffenKrakenbürger, FionaKronemann, Mey LeanKüchler, LauraKulla, DanielLowtzow, Dirk vonLindal, LauraMarszewski, KatharinaMiller, Zöe ClaireNaprushkina, MarinaMyland, MarcelNaumann, HenrikeNeubacher, DanielNowak, AlexanderPeters, HelgeRieger, FrankSchell, JoschaScholle, CarmenSchramm, JuliaSchroeter und Berger
Schuda, SusanneSchulz, JanaSeeberg-Elverfeldt, AlexanderStaiger, MarcusStephansson, G.Stakemeier, KerstinSuckale, StephenVollhardt, LeneWecke, MartinWermke, MatthiasWeichsel, JonasWindauer, Lars (aka Lasse)Zelik, Raul
Teilnehmer und Künstler:
For „Welcomewelcome - a mouth is a foreign country“, I distributed flyers to the general public, inviting them to a dinner. I asked my guests to help me bring my wooden construction to the Sarphaati Park, located in the center of Amsterdam, where it was to be erected. Due to the fact that I did not have official permission to use the site for this purpose, my guests became simul-
taneously nervous and alert. The atmosphere was comparable to the expe-rience of engaging in political activism. While we were building up the con-struction, interactions with pedestrians began to develop. A commissioned jinggle was played at the event via radios which received the music through a pirate radio transmitter.
Welcomewelcome - a mouth is a foreign country Intervention, 2016