PLATFORM3 - Räume für zeitgenössische Kunst - 2009

Conception of Platform3
Elisabeth Hartung
“The atmosphere will be open and communicative,
welcoming, not elitist…” 1
When I first outlined this image of the spirit of
Platform3 in December 2008 at an introduction
of this new, model institution for the promotion
of cultural production, we were standing
on a building site. Different opinion leaders
from politics and administration, and the first
artists who had decided in favour of a studio
in this new institution, gathered together on
this evening under building-site light. The real
space and life on the third floor of a former
industrial building was still a construction of
imagination that slowly became more realistic.
“In the central 200 sqm area in which we
are standing, young curators together with
artists, who will work here, will realise exhibitions
with interesting international positions.
New ideas will be introduced, there will be
discussion, exchange with other similar international
platforms and artists will be practised
… here in the big, bright space and towards
the exhibition and event room open-area,
young cultural managers will work on cultural
projects during their 1 year traineeship which
will be realised together with materials managers
in this central and public area. More than
30 artists will work in 22 studios.”
In the beginning there were visions. Individuals
from politics and administration gave
birth to an idea that was described as having
aims such as qualification for the cultural
sector, creation of studio space, construction
of a service agency for artists, promotion of
creative potential, raising public awareness of
current culturally and socially relevant processes
and elements. It was obvious that a prospering
city such as Munich cannot just provide affordable
space, but that it was also vital to sponsor
new ideas and create new structures and networks
to promote creative potential.
“At Platform3, Munich can present a side
of itself which often isn’t communicated enough
to the outside world but is an important component
of the city; there is a professional creative
scene and a lot of innovative potential.”
Promotion of this potential was now made
possible due to what seems like an unusual
constellation at first but turns out to be innovative
and looking to the future when closely
examined. Contemplating social change
formed by massive changes in creative work
and education becomes more and more important.
While innovative processes have long
been discussed and approved in an economic
context, it is now time to increasingly promote
the creative art scene and work conditions
in the cultural sector in a sustainable way. In
the future the attractiveness of our cities will
strongly depend on this.
“The innovative and trend-setting potential
of creatives is currently an important topic
with regards to the development of cities and
even more so of our culture. However, this
should be more than just a fad. We perceive
this as a chance for this platform to closely
inspect the possibilities and status of cultural
work from different sides and develop new
models.”
The Department of Labour and Economic
Development of the City of Munich has shown
clear dedication to the promotion of cultural
work through financial support. The funding
body is the Wohnforum München, a non-profit
organisation which knows a lot about building
and qualification measures. That’s how a
start-ing point was created and an exciting
challenge was accepted.
“New projects always need something
unfamiliar, new thought models and visions.
However, new projects also need good partners,
networks and co-operations.”
The special basic structure was the big
chance for this project. Nobody could rely on
trusted patterns and stereotypes. Everybody
involved was constantly challenged to keep
in motion. We couldn’t compare the qualification
of strongly motivated cultural managers with
programs for long-term unemployed individuals,
who need to qualify to re-enter the job
market by becoming facility managers for
this cultural project. A cultural space had to be
created which allowed cultural managers to
gain professional experience, integrate individuals
into the working process and create an
advanced cultural program.