ZKM | Zentrum für Kunst und Medien
- Rolf Funck, Michael Heck, Peter Weibel (Hg.), »Das ZKM Karlsruhe. Die Anfänge der Zukunft«, Wilhelm Fink Verlag, 2014.
ISBN: 978-3770558537
- M.I.R. – Mobile Interface Radio (Staatliche Hochschule für Gestaltung Karlsruhe), »Hallenbau A«, Hörspiel, 2010.
http://hallenbau-a.com
- Jörg Reimann, »99,9 % und mehr. Künstler-Gruppenprojekte ›vor‹ dem ZKM«, hg. von Peter Weibel, ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe, 2009.
ISBN 978-3-928201-37-7
Architecture
Since 1997, the ZKM has had its home in a former industrial building that is listed as a historical monument. At the time of its construction (1915–1918), »Hallenbau A«, as it was known, was one of the largest and most architecturally advanced industrial buildings in Germany. Philipp Jakob Manz (1861–1936) was commissioned as the architect. The landmarked production building of the arms factory is the last relict of a plant which used to have the size of a whole urban quarter. With regards to the urban development of Karlsruhe, its function was similar to the city‘s Baroque castle grounds.At the time of construction (1915–1918), »Hallenbau A«, as it was known, was one of the largest and most architecturally advanced industrial buildings in Germany. The client was the Deutsche Waffen- und Munitionsfabriken AG (DWM) [German Weapons and Munitions public limited company]. Philipp Jakob Manz (1861–1936) was commissioned as the architect. He ran one of the largest German architectural offices for industrial buildings in Stuttgart and Vienna in the early twentieth century. The listed production building of the armaments factory, in which up to 4,500 workers were employed, is the last relict of a plant that once extended the size of an urban district and which, although situated on the outskirts of the city, had a similar function to the urban landscape as the Baroque castle grounds of Karlsruhe.The four-story building with enormous dimensions of 312 m in length, 54 m in width, and a total of 16,500 square meters of floor space was built as a precast concrete skeleton structure using the construction system of the French engineer François Hénnebique. The open-plan structure, which rests on a wide grid of pillars, is divided into ten atriums with the facade organized by large window surfaces. The plant was used as a munitions factory until the end of World War II, and was then in civil use by the Industriewerke Karlsruhe-Augsburg (IWKA). After the production site was abandoned in the 1970s, the factory premises were left as industrial wastelands.
The decision to allocate a new use to the industrial building – which was threatened with demolition despite its listed status – first came twenty years later. After groups of artists had already pointed to a possible cultural use through their occupation of the building’s rooms between 1981 and 1989, the local council of Karlsruhe decided to rededicate Hallenbau A as the site of the newly founded ZKM | Center for Art and Media and the also newly founded Karlsruhe University of Art and Design (HfG) together with the Städtische Galerie Karlsruhe [Municipal Gallery Karlsruhe]. The Schweger + Partner architecture firm designed and realized the functionally and aesthetically demanding renovation. In 1993, the symbolic groundbreaking ceremony took place, in 1995 the roofing ceremony, and in 1997, the ZKM moved into Hallenbau A.Architecture and GLOBALE
In the Hallenbau's 100th year, the ZKM allows the outstanding quality of the industrial architecture to take effect with special grandeur. At the start of the GLOBALE program, the exhibition rooms will not have aby museum fixtures such as white cubes or partitions. Instead, the open expanse of the pristine, precast concrete skeleton construction will be visible in its purity.
Ryoji Ikeda, »micro | macro«, in the ZKM_Atrium 1 + 2© ZKM | Center for Art and Media, photo: Martin WagenhanIn the empty, completely darkened Atriums 1 and 2, the »micro | macro«exhibition showed three giant installations by Japanese artist Ryokij Ikeda from June 21 to August 9, 2015. Ikeda's audio-visual works are based on the digital data that surrounds us in the twenty-first century. They allow you to experience how the equation of »Machinery, Material, and Men«, which was established by the seminal architect Frank Lloyd Wright for the twentieth century, is updated with the equation of »Media, Data, and Men« in the twenty-first century; The industrial building becomes a data space.
Transsolar + Tetsuo Kondo, »Cloudscapes«, courtyard 8 + 9, ZKM | Center for Art and Media Karlsruhe, 2015© ZKM | Center for Art and Media, photo: Harald VölklAtriums 8 and 9, whose window fronts have been exposed again for the first time in decades, are now flooded with daylight. The outer shell of the building seems to dissolve. The lightness of the architecture becomes apparent. Between June 20 and September 27, 2015, only one large cloud, which moved from atrium to atrium, floated about the empty rooms. The work, which is entitled »Cloudscapes« was developed especially for the dimensions of the Hallenbau by Transolar + Tetsuo Kondo.
Munitions factory and the GLOBALE
However, the ZKM also refers to the Hallenbau's history as weapons and munitions factory and the suffering of the forced laborers who had to work under inhumane conditions in munitions production during the Third Reich. A commemorative plaque at the ZKM's main entrance is a reminder of this deplorable time during World War II. Due to this history, the ZKM has a special responsibility and obligation to address the irrefutable value of basic and human rights.
For this reason, too, on June 19, 2015, the GLOBALE began at this site of contempt for mankind and of the production of weapons of mass destruction with a prologue: the »Tribunal«, a trial against the misconduct of the twentieth century and its crimes against humanity, animals and nature. This is also meant to commemorate the victims of the twentieth century's contempt for humanity in the ZKM building. Conscious of the history of the Hallenbau, the ZKM also acknowledges the artists who though their artistic work and campaigns have opened this historically-burdened building for culture: a site abandoned for two decades as an industrial ruin. Without them, the transformation from a place of dread in the twentieth century to a place of freedom and art, from a munitions factory to a factory of culture, could never have taken place. As a Center for Art and Media, the ZKM is also indebted to technology – but technology of futurology and individual freedom rather than a technology of destruction.Bibliography
- Rolf Funck, Michael Heck, Peter Weibel (Hg.), »Das ZKM Karlsruhe. Die Anfänge der Zukunft«, Wilhelm Fink Verlag, 2014.
- Collection & Archives
- Collection
- Information about the collection
The Collection of the ZKM
The collection of the ZKM comprises about 8,000 works of 20th and 21st century art.
It contains works of all genres of the visual arts - painting, drawing, printmaking, sculpture, photography, film, video and installation. The stock of computer-based installations, video tapes and video installations is unique worldwide.
The ZKM research collection also includes approximately 8,000 video and audio tapes. It contains works of video art as well as documentaries on artists, works of art, artistic events and exhibitions from the 1960s to the present day.
You will have the opportunity to view over 1,100 titles from the video art collection in the Media Lounge.
Explore the collection online and on site
- Organization / Institution
- ZKM | Center for Art and Media
Writing the History of the Future
The ZKM CollectionSat, 23.02.2019 – Sun, 28.03.2021
Cost: Museum admissionIn an extraordinary compilation, ZKM presents the main works from its globally unique collection.
The exhibition follows the paths taken by the Avant-Garde and the Neo Avant-Garde of the 20th century through to the present: from the arts of movement – from the moving machines (kinetics, cybernetics), to moving picture (cinematography, op art, video, holography, computer installations) – to the moving observer (participation, interaction, happening). The horizon of the exhibits ranges from material painting and variable object images, from the mechanical and magnetic arts, through to light art and sound art and to the conquest of the electronic media. The exhibition surprises by providing an alternative account of the history of art and media after 1945.Accompanying program
Supported by
- Exhibitions & Events
- Exhibitions
- Art in Motion. 100 Masterpieces with and through Media
Art in Motion. 100 Masterpieces with and through Media
An Operative Canon
Sat, 14.07.2018 – Sun, 20.01.2019
Atrium 1+2
Cost: Museum admission
Cost: Museum admission
»Art in Motion. 100 Masterpieces with and through Media. An Operative Canon« will portray the development of media arts by showcasing pivotal pioneering works that utilize technical devices: from photography to cinematography and sound art, the theater of machines and projections, radiophonic and televisual art, the art video, media-based action and Fluxus arts, and the networked and collaborative artistic practices of the last decades.
The works in the exhibition have not been selected on the basis of the classic notion of an image which is oriented on painting, for this always attempts to bend back the new media towards the traditional visual arts and hinders understanding of how the media arts have developed. The coevolution of wheel-based technologies, such as clockwork and calculating machines, transportation machines like automobiles and trains, as well as the image machines that have not only brought forth moving pictures, moving sculptures, and moving spectators, but also ushered in the changeover to electromagnetic production, storage, and distribution media, is an area that is still a mystery to the wider art world. This is why it is important to advance understanding of the development of this art genre by presenting a selection of canonical works.
»This exhibition's importance can not be overstated. It provides a rare and perceptive opportunity to see classic examples put into a new context and as well to experience works whose relevance had been previously obscured. How fortunate that your excavations resulted in this profound manifestation.«
Lynn Hershman Leeson, media artist, to Peter Weibel and Siegfried Zielinski
- Credits
- Peter Weibel (Curator)
- Siegfried Zielinski (Curator)
- Judith Bihr (Project management)
- Daria Mille (Project management)
- Organization / Institution
- ZKM | Center for Art and Media
Video & Audio
30 years future laboratory ZKM
05.11.2018
Dear Visitors,
The ZKM | Center for Art and Media was founded in 1989 with a visionary idea: The future of the arts and media was to be experimentally researched and exhibited under one roof. For 30 years, the ZKM has been showing what new paths art and society can take when they aesthetically test and critically discuss new media and materials. Looking to the future, the ZKM has made history through artistic productions, exhibitions, events, publications and its collection.
Nam June Paik, »Arche Noah«, 1989, ZKM | Karlsruhe
© ENBW, photo: Steffen Harms
We are taking our 30th anniversary next year as an opportunity to present the extraordinary collection of artworks to you in all its diversity for the first time. The ZKM's collection of contemporary art, built up over the past 30 years, is one of the most extensive video art collections in Europe and the largest collection of computer-based art in the world. From February 23, 2019 the exhibition »Writing the History of the Future« will tell an innovative story of 20th and 21st century art – an era of fundamental technological change and an unprecedented democratisation of the experience of art and culture. We would like to invite you to join us in writing the history of the future.
Exhibition view »Open Codes II. The World as a Field of Data«
© ZKM | Karlsruhe, photo: Uli Deck
Our educational experiment »Open Codes« is testing new forms of democracy until January 6, 2019. But even after January 6, 2019 the ZKM will remain a place for citizen education. Because only with the instruments of thought can we regain access to reality.
Yours
Peter Weibel
Peter Weibel
Category: take a look… behind the scenes of ZKM
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