Rundgang in der Sammlung Boros: Christiane Arp trifft J.W.Anderson I VOGUE loves mytheresa.com
Kühler Beton trifft auf Kunst, welche die Herzen von Design-Liebhabern erwärmt. Im ehemaligen Berliner Reichsbahnbunker traf VOGUE-Chefredakteurin Christiane Arp für mytheresa.com Designer Jonathan Anderson. Beim gemeinsamen Gang durch die Sammlung Boros sprechen sie über sein Modelabel J.W.Anderson und die Bedeutung von Fashion in der heutigen Zeit.
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Christiane Arp I Jonathan Anderson I mytheresa.com I Vogue I Interview I Berlin I Designer I Fashion
Vom Schutzbunker zur Galerie für moderne Kunst - die Sammlung Boros (SEHENSWERT!,Teil 1)
Sammlung Boros (Teil 1) - aktuelle Ausstellung
Außergewöhnliche Kunst am ungewöhnlichen Ort, eine Führung durch den Kunstbunker in der Reinhardtstraße mit Juliet Kothe, der Direktorin der Sammlung Boros und Kunstvermittlerin Essi Glomb.
Sammlung Boros (Teil 2) - aktuelle Ausstellung
Außergewöhnliche Kunst am ungewöhnlichen Ort, eine Führung durch den Kunstbunker in der Reinhardtstraße mit Juliet Kothe, der Direktorin der Sammlung Boros und Kunstvermittlerin Essi Glomb.
Agentur Boros - ein unvergleichliches Büro
Würdevoll wacht die mächtige Herkules-Statue über den Konferenzsaal im einstigen Pumpwerk am Halleschen Ufer in Berlin, in das der Kunstsammler und Unternehmer Christian Boros mit seinem Verlag und seiner Kommunikationsagentur eingezogen ist. Im Stil der Neorenaissance errichtet, tat das Pumpwerk 100 Jahre seine Dienste, bevor es in den 1980er Jahren zum Lapidarium für die historischen Figuren der städtischen Skulpturensammlung wurde. Von der Zeit unangetastet, stehen auch heute noch die überdimensionalen Steingussfiguren im geschützten Technikdenkmal. Doch statt geschichtsinteressiertes Publikum begrüßen Merkur, der Schutzpatron der Kaufleute, und die strenge Borussia nun die Mitarbeiter und Kunden im Eingangsbereich. In die denkmalgeschützte Substanz wurde behutsam eine räumliche Intervention in Form einer schwarzen Betonskulptur integriert, die, den Auflagen des Denkmalschutzes geschuldet, mit der historischen Substanz in gebührendem Abstand korrespondiert. Die so entstandenen Flächen und Funktionenverzahnen sich mit der sie umgebenden Haupthalle, ohne deren räumliche Qualitäten anzutasten. Die wenigen neuen Materialien, wie der eingefärbte Beton, geölte Eiche, Bronze und der dunkle Boden, dürfen in Würde altern und ihre eigene Geschichtsspur hinterlassen – ganz im Sinne von Herkules.
Interviewpartner:
Christian Boros
Olafur Eliasson
Jens Casper (Büro Jens Casper)
Lina Müller (FORMATION A)
Interviewer:
Nikolaus Johannson (Zumtobel)
Produktion:
suprpunch
Vom Schutzbunker zur Galerie für moderne Kunst - die Sammlung Boros (SEHENSWERT!,Teil 2)
Vom Schutzbunker zur Galerie für moderne Kunst - die Sammlung Boros (SEHENSWERT!,Teil 3)
Podiumsgespräch: Kunst als Ideenreservoir
Kunst als Ideenreservoir. Podiumsgespräch in der Fondation Beyeler. Mit Christian Boros (Sammler und Inhaber einer Kommunikationsagentur in Berlin), Liam Gillick (Künstler), Michelle Nicol (Kunsthistorikerin und Inhaberin einer Werbeagentur in Zürich), Hans-Ulrich Schweizer (Ehrenmitglied Art Directors Club Schweiz und Präsident von Haus Konstruktiv in Zürich) und Beat Wyss (Kunsthistoriker und Publizist). Gesprächsleitung: Finn Canonica (Chefredaktor des Magazins). Fondation Beyeler, Riehen, 23.8.2012.
Karen Boros: Bacon – Giacometti
Karen Boros (Sammlerin) über die Ausstellung “Bacon – Giacometti.
fondationbeyeler.ch/bacongiacometti
#BeyelerBaconGiacometti
#FondationBeyeler
Boros Collection
Berlin. Great museum of contemporary art in the building that once was used as a bunker and once even as a nightclub (like in 90's)
An art gallery opens in a disused Nazi bunker
SHOTLIST
Berlin - 10 May, 2008
1. Wide shot of the bunker, pan across the building
2. Close of windows with war damage
3. Mid of narrow windows
4. Wide of front of the bunker
5. Close of corner of the building
6. Wide of corridor, pan up the stairs
7. Close of sign in German
8. Wide of corridor
9. Close of tubes on the wall
10. SOUNDBITE: (German) Christian Boros, art collector and bunker owner
This building was built in the war, in the Third Reich and it was made to protect up to thousand and half people from the Allied bombing. Later (at the end of the war) there were 3000 people (hiding) here. Building was erected by the 'general building inspectorate' led by Albert Speer.
11. Close of door handle
12. Pan across the room, ending on the artwork
13. Close of artwork
14. SOUNDBITE: (German) Christian Boros, art collector and bunker owner:
After the capitulation, the building immediately changed it's purpose, it was turned into prison. Red Army took the bunker over and turned it into POW prison. GDR (East German state) later used it as warehouse for fruits, because the temperatures are so steady here. They were storing bananas imported from Cuba as a present from Castro, so the bunker was, because of the smell, popularly called 'the banana bunker'. After the fall of the (Berlin) Wall, it was an S&M sex club, and the 'hardest techno club of Germany'
15. Various shots of the artworks
16. SOUNDBITE: (German) Christian Boros, art collector and bunker owner
My friends and me, we travel a lot. Whenever we see something that angers us, when things cross boundaries, when we see something that we do not understand, when we see art that brings us further, (then we buy it). Not the kind of art when we say: nice, I understand it - such art I do not have to buy. Of course, I've go to a museum, I see a Warhol and, yes it is nice, but I do not need to buy it. But if I go to an exhibition in Warsaw, New York or Berlin and see something where the artist succeeded to me, then I must have it to be able to understand it.
17. Various shots of artworks
18. SOUNDBITE: (German) Christian Boros, art collector and bunker owner
This early work by Olafur Eliasson symbolises what one can see in the first exhibition, namely artworks which work with space. This work, which with such easiness, almost graphically cuts its lines here, and different from a normal went which is fixed, completely freely hangs and makes its own way - one could look at this for hours.
19. Mid of bell
20. Close of bell
21. Wide of bell pan to the corridor
22. Room with installation
23. Water installation
LEAD IN:
A new, unique art gallery is giving a whole new meaning to underground art in Germany.
The modern art venue is unlike other art galleries.
Housed in a disused World War II bunker, on show are works by Damien Hirst and other lesser known contemporary artists.
STORYLINE:
Berlin's art lovers now have a new place to appreciate their favourite artists.
Commissioned by Adolf Hitler's favourite architect, Albert Speer, this huge imposing bunker now is one of the capital's most sought after galleries.
Built in 1942, the bunker has undergone several metamorphoses during the last six decades.
When the Red Army occupied Berlin in 1945, the Soviets turned the building into a prison for Nazi war criminals.
During Communist times, the grey, concrete structure was used as storage for exotic fruits, because its three-metre-thick walls provided cool temperatures all year round.
Since those bleak days, the building has been acquired by Christian Boros, an art collector.
He says the building was constructed to protect 1,500 people from the Allied bombings.
You can license this story through AP Archive:
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BERLIN TRAVEL VLOG | TEMPELHOF & BOROS BUNKER | Vlog 005
I found a rideshare with Blablacar Copenhagen - Berlin for 20 euros, and decided to go visit my friend Ramy! If you have any questions regarding locations, names, etc. just comment below!
I post a video every week. Subscribe if you would like to see more!
Music by Dyalla Swain:
De Búnker a museo, el espacio en Berlín que acoge la colección privada de Feuerle
Berlín (Alemania), 11 oct (EFE).- (Imagen: Felipe Trueba) Berlín amplía su oferta cultural con la apertura el sábado de un nuevo museo en el que su fundador, el historiador de arte experto en Asia Désiré Feuerle, abre al público su colección privada en un marco muy singular, un antiguo búnker de telecomunicaciones de tiempos de la II Guerra Mundial.
Palabras clave: efe,berlin,museo,feuerle
Берлин. Заброшенная станция радиоразведки. Бункер галерея Boros. Варьете Wintergarten
На второй день нашей короткой поездки в Берлин весной 2018 года после завтрака в кафе Королевской садовой академии ( Das Kafe in der Gartenakademie) мы отправились на знаменитую Чертову гору (Teufelsberg), которая является самой высокой точкой в Берлине. На ее вершине расположена заброшенная станция шпионской радиоразведки. Почему гора называется Чертова и чем она знаменита, смотрите в этом выпуске. Потом мы посетили бункер- галерею современного искусства Борос (Boros Bunker). Это частная галерея искусства в Берлине, принадлежащая предпринимателю Кристиану Боросу (Christian Boros). Вечером мы посетили ресторан Mine. Это проект, в котором мы принимали участие и дизайн которого разрабатывал наш друг архитектор Евгений Скориков. Мы осмотрели интерьер и пообщались с хозяином заведения и шеф-поваром Михаилом Мнацакановым. На следующий день мы посетили туристическую выставку ITB, ежегодно проводимую в Берлине, чтобы определиться с направлениями для новых дизайн-путешествий, а позже отправились в старейшее берлинское варьете Wintergarten. О том, какие впечатления мы получили от представления, и о том, где в Берлине можно попробовать настоящий традиционный стритфуд, Карривурст (Curry 36) и Донер кебаб (Mustafa Kebab), вы узнаете в этом выпуске. Наш день закончился в ресторане самого известного берлинского шефа Тима Рауэ (Tim Raue) Brasserie Colette и на этом наше путешествие в Берлин закончилось.
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Композиция Soul Groove принадлежит исполнителю Audionautix. Лицензия: Creative Commons Attribution (
Исполнитель:
Композиция Smooth Sailing принадлежит исполнителю Audionautix. Лицензия: Creative Commons Attribution (
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Композиция Easy Jam принадлежит исполнителю Kevin MacLeod. Лицензия: Creative Commons Attribution (
Оригинальная версия:
Исполнитель:
Берлин. Заброшенная станция радиоразведки. Бункер галерея Boros. Варьете Wintergarten.
Alicja Kwade @ Boros Collection
Alicja Kwade
In Agneta’s Sight: The Boros Collection in Berlin
The Boros Collection, a contemporary art gallery situated at the bunker from the WW2 in Berlin.
El búnker del millonario alemán Boros, refugio del arte contemporáneo .
Berlín, 17 may (EFE). (Imagen: Patricia Baelo).- Esculturas gigantescas que atraviesan paredes, tubos de neón reflectantes y hasta los restos de una comida. Todo es posible en la galería del millonario alemán Christian Boros, una suerte de paraíso para las nuevas tendencias en arte, escondidas en un antiguo búnker de la época nazi.
EFE TV -Madrid- 12:50 GMT.
WEB:efeservicios.com.
Boros Collection TALKS About Ai Weiwei
In Germany Ai Weiwei is perhaps the most famous Chinese citizen. In no other European country is so much written and spoken about the artist as with us. He brakes museum visitor records, but at the same time receives strong criticism. Is Ai Weiwei a great political artist, or rather a projection screen for Western media who want to confirm their prejudices about a repressive China? In TALKS # 2 Chinese art expert Kerstin Knote talks about these contradictions and Ai Weiwei's role in contemporary art.
In Deutschland ist Ai Weiwei vielleicht der bekannteste Chinese überhaupt. In keinem anderen europäischen Land wird so viel über den Künstler geschrieben und gesprochen wie bei uns. Im Juli 2014 hat seine Ausstellung “Evidence” im Martin Gropius Bau den Besucherrekord des Museums gebrochen, aber gleichzeitig auch vernichtende Kritik geerntet. Ist Ai Weiwei nun ein groβer politischer Künstler oder vielmehr eine Projektionsfläche für westliche Medien, die ihre Vorurteile über ein repressives Chinas bestätigt sehen wollen? Über diese Widersprüche und Ai Weiweis Rolle in der zeitgenössischen chinesischen Kunst spricht Kerstin Knote in der Sammlung Boros.
Konzept & Realisation: Juliet Kothe & Saskia Trebing
FIlm: Immanuel Hick
Kamera & Ton: Moritz Polomski & Axel Warnstedt
Postproduktion: vogelfrai Filmproduktion
Kris Martin ?DO GEESE SEE GOD?
MARCH 21 - APRIL 27, 2019
Sean Kelly is delighted to announce Kris Martin’s first solo exhibition with the gallery, ?DO GEESE SEE GOD?, an unprecedented exhibition and artistic intervention occupying two distinct venues. This groundbreaking two-part exhibition will occur simultaneously at Saint Bavo’s Cathedral in Ghent, Belgium, home to the world-renowned painting by Hubert and Jan van Eyck, Adoration of the Mystic Lamb, commonly referred to as the Ghent Altarpiece, and at Sean Kelly Gallery in New York. In a unique collaboration, Martin has been granted exclusive access to work in St. Bavo’s, integrating his site-specific artwork into the very fabric of the cathedral. Remarkably, he has even been allowed to insert an art work into the armature of the Ghent Altarpiece itself. In parallel to Martin’s extraordinary access in the cathedral, he will install corresponding works in the front and lower galleries at Sean Kelly, New York. This unique dual exhibition juxtaposes Martin’s work in both a historic Gothic site of worship and a 21st century contemporary art gallery.
It is also the most stolen. Since its completion in 1432 it has been the target of 13 different crimes; it has been smuggled, censored, ransomed and attacked by iconoclasts. The altarpiece, which is currently undergoing extensive conservation and restoration has, since World-War II, been reconstructed and is on view with the exception of one crucial missing element. The lower left panel, known as The Just Judges, is currently represented by a high-resolution photographic reproduction. For his exhibition, Martin will cover this panel with a mirror, at once inducting the observer as an active participant, while simultaneously implicating the viewer as one of the “just judges.”
This type of gesture is typical in Martin’s lyrical and conceptual practice which engages, amongst many ideas, that of the readymade. Through subtle acts of appropriation and intervention, Martin radically shifts the meaning of an object. He once stated, “I see every piece as an invitation for the viewer to reflect: trying to activate one’s individual thoughts about one’s own life, without having any intention to force one’s thoughts to go in a certain direction.” Throughout the exhibitions there will be a series of objects at once familiar, and uncanny. The duality of mirroring—literally and conceptually—is at the crux of this exhibition: each work on view in Ghent will have its “double” on view at the gallery in New York. Conflating the sacred space of the Cathedral in Ghent with the secular space of the New York Gallery, Martin creates a compelling and subversive group of works infused with humor and wit that continue his ongoing investigation into major questions of human experience and spiritual belief.
Kris Martin, born in 1972, lives and works in Mullem, Belgium. Martin has been the subject of solo exhibitions at international museums including the Kunstmuseum Bonn, Germany; the Aargauer Kunsthaus, Aarau, Switzerland; Kestnergesellschaft Hanover, Germany; the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany; the Kunsthistorisches Museum, Vienna, Austria; the Lehmbruck Museum, Duisburg, Germany; the Wattis Institute for Contemporary Arts, San Francisco, California; the Aspen Art Museum, Aspen, Colorado; the Museum Dhondt-Dhaenens, Deurle, Belgium; and MoMA P.S.1, New York amongst others. His work has been featured in numerous group exhibitions including the Museum Morsbroich, Leverkusen, Germany; the Louvre, Paris, France; the Tate Modern, London, United Kingdom; the Centre Pompidou, Paris France; the 4th Berlin Biennale, Berlin, Germany; the Museum Folkwang, Essen, Germany; the KW Institute for Contemporary Art, Berlin, Germany; and The Jewish Museum, New York. His work is included in prominent public and private collections such as the Burger Collection, Hong Kong; The David Roberts Art Foundation, London, United Kingdom; K21, Dusseldorf, Germany; the Museum of Contemporary Art Chicago, Chicago, Illinois; the Olbricht Collection, Berlin, Germany; Sammlung Boros, Berlin and Sammlung Philara, Düsseldorf, Germany; the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, Belgium; the Walker Art Center, Minneapolis, Minnesota; The Warehouse, Dallas, Texas; and the Zabludowicz Collection, London, United Kingdom.
Dinge aus Distanz oft klarer
14.09.10 Seit Januar setzen sich zwei Kunstliebhaber für den Zuwachs der Printmedien ein. Uta Grosenick und Christian Boros gründeten in Berlin einen Kunstbuchverlag.