Marta Dyachenko, Uli Golub, Jana Gunstheimer, Nikita Kadan, Zhanna Kadyrova, Nino Kvrivishvili, Yuri Yefanov, Driant Zeneli and a model after Fedir Tetianych (1942-2007) realised by Bögdana Kosmina & Bogdan Tetianych; Pixelated Realities
Landscapes of an Ongoing Past
Project Info
- 💙 Salt warehouse, Zollverein UNESCO World Heritage Site
- 💚 Alisha Raissa Danscher, Tatiana Kochubinska, Yevheniia Moliar, Britta Peters
- 🖤 Marta Dyachenko, Uli Golub, Jana Gunstheimer, Nikita Kadan, Zhanna Kadyrova, Nino Kvrivishvili, Yuri Yefanov, Driant Zeneli and a model after Fedir Tetianych (1942-2007) realised by Bögdana Kosmina & Bogdan Tetianych; Pixelated Realities
- 💛 Henning Rogge
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Fedir Tetianych (replica realised by Bögdana Kosmina and Bogdan Tetianych). Biotechnosphere (replica, 2024). Photo: Henning Rogge. Image courtesy of UKR.
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Marta Dyachenko. Handgreifliche Utopie (2024). Photo: Henning Rogge. Image courtesy of UKR.
Marta Dyachenko (foreground), Fedir Tetianych (replica by Bögdana Kosmina and Bogdan Tetianych, background). Handgreifliche Utopie (2024, foreground), Biotechnosphere (replica, 2024, background). Photo: Henning Rogge. Image courtesy of UKR.
Nino Kvrivishvili, left; Marta Dyachenko, centre; Zhanna Kadyrova, right. Колич. отр. (2024); AISI (2022); DAISI (2021); Floating Island (2019, 2022); Second Hand (2019). Photo: Henning Rogge. Courtesy UKR.
Cinema Pavillon, right; Yuri Yefanov, left; Ilya & Emilia Kabakov, behind. Cinema Pavillon; We will definitely talk about this after the last air raid alert stops (2024, left), The Palace of Projects (1998, background). Photo: Henning Rogge. Courtesy UKR
Nikita Kadan, Nino Kvrivishvili. The Popasna Corner (2024), Колич. отр. (2024, top left). Photo: Henning Rogge. Image courtesy of UKR.
Nikita Kadan, centre; Nino Kvrivishvili, background. The Popasna Corner (2024, centre), Колич. отр. (2024, top); AISI (2022, right); DAISI (2021, far right). Photo: Henning Rogge. Courtesy UKR
Nikita Kadan. The Popasna Corner (2024). Photo: Henning Rogge. Image courtesy of UKR.
Driant Zeneli (foreground), Yuri Yefanov (background). Maybe The Cosmos Is Not So Extraordinary (2019, foreground), We will definitely talk about this after the last air raid alert stops (2024, background). Photo: Henning Rogge. Image courtesy of UKR.
Nino Kvrivishvili. AISI (2022, left), DAISI (2021, right). Photo: Henning Rogge. Image courtesy of UKR.
Zhanna Kadyrova. Second Hand (2019). Photo: Henning Rogge. Image courtesy of UKR.
Installation view (Uli Golub, foreground; Ilya & Emilia Kabakov, background). Babushka in Space (2017, foreground), The Palace of Projects (1998, background). Photo: Henning Rogge. Image courtesy of UKR.
Installation view, Salt store. “Landscapes of an Ongoing Past”. Photo: Henning Rogge. Image courtesy of UKR.
Yuri Yefanov. We will definitely talk about this after the last air raid alert stops (2024). Photo: Henning Rogge. Image courtesy of UKR.
Jana Gunstheimer, front; Yuri Yefanov, right; Marta Dyachenko, back. Kosmos (2015-2016, front), We will definitely talk about this after the last air raid alert stops (2024, right), Floating Island (2019, 2022, back). Photo: Henning Rogge. Court. UKR.
The venue itself, the former salt warehouse, has been used for all kinds of events since 2001, especially for theater performances and readings. In these cases, however, "The Palace of Projects" has operated more like a backdrop, and after more than 20 years, attention to the inner life of the huge installation has unjustifiably waned a little. For the first time, the site-specific exhibition "Landscapes of an Ongoing Past" brings "The Palace of Projects" in dialogue with other contemporary visual arts installations while also allowing visitors to enter its interior. The location showcases the rise and fall of industrial visions. It highlights that culture plays a crucial role in remembering and understanding the past while also managing periods of transition, an aspect deeply connected to the current threat to Ukraine – its landscape, its people, and its culture.
Since 2001, "The Palace of Projects" by the Kabakovs has been installed in the Salzlager (salt warehouse) of the preserved coking plant and industrial processing complex, an impressive site of cultural heritage located in Essen, North Rhine-Westphalia. The two-story, snail shell-like artwork, made of simple wood and linen, holds 61 proposals for a better future and is one of the Kabakovs’ largest permanent installations. In loose correspondence with it, existing as well as newly commissioned artworks by 17 artists explore traces of unrealized utopias, focus on questions of artisanal and industrial production, or reflect on the relationship between architecture and nature. With a view to the post-industrial landscapes of the Ruhr region, "Landscapes of an Ongoing Past" is dedicated to the state of the present between decay and hope.
The venue itself, the former salt warehouse, has been used for all kinds of events since 2001, especially for theater performances and readings. In these cases, however, "The Palace of Projects" has operated more like a backdrop, and after more than 20 years, attention to the inner life of the huge installation has unjustifiably waned a little. For the first time, the site-specific exhibition "Landscapes of an Ongoing Past" brings "The Palace of Projects" in dialogue with other contemporary visual arts installations while also allowing visitors to enter its interior. The location showcases the rise and fall of industrial visions. It highlights that culture plays a crucial role in remembering and understanding the past while also managing periods of transition, an aspect deeply connected to the current threat to Ukraine – its landscape, its people, and its culture.
