dortmunder u CENTRE FOR ART AND CREATIVITY

dortmunder.u.de

dortmunder u CENTRE FOR ART AND CREATIVITY

Dortmunder u

CENTRE FOR ART

AND CREATIVITY

www.dortmunder-u.de


The Dortmunder U

At a Glance

Cathedral / Visitors’ Terrace

Restaurant VIEW

Flying Pictures by Adolf Winkelmann in the foyer,

in the vertical art space and on the roof top

Temporary Exhibitions

Museum Ostwall

Collection

Loudspeaker

Museum Ostwall

Collection / Library

7

6

Hartware MedienKunstVerein

Media art / Exhibitions

5

Centre for Cultural Education

4

TU Dortmund University

Dortmund University of Applied

Sciences and Arts

Central Research Institute for the

Study of Moving Images of the

Dortmund University of Applied

Sciences and Arts

ecce – european centre

for creative economy

RWE Forum / Cinema

Information / Tickets

Café Ruby

Shop

3

2

1

0

Vertical art space

© Hans Jürgen Landes


4

WELCOME

ULLRICH SIERAU, LORD MAYOR OF THE CITY OF DORTMUND

HANNELORE KRAFT, MINISTER PRESIDENT OF NORTH RHINE-WESTPHALIA

Dear visitors to and citizens of Dortmund,

the “U”, the emblem of Dortmund which can be seen

from afar and is known far and wide, is a milestone in

the city’s development for its further forward-looking

transformation in urban development and culture.

The Dortmunder U has a lively history and has been

witness to many changes. Over 80 years ago the

U-Tower was built as a storage tower for the Dortmunder

Union Brewery, and certainly by 1968, when

the four-sided, illuminated “U” was put on top, the

tower had become a symbol for the economic

strength of Dortmund’s breweries. Known all over

the Ruhr Metropolis and beyond, it symbolized

the art of brewing and therefore stood, alongside

coal and steel, for one of the three pillars of the

former economic structure in the Ruhr.

When this structure changed the U-Tower once again

became a witness, this time of major changes, that

now find their very visible high point in the tower’s

renovation and conversion. In its role as a new

Centre for Art and Creativity, the Dortmunder U

underlines the city’s, and the region’s, potential for

innovation and the will to change. The revitalizing

of a former industrial building for culture illustrates

the growing significance of Dortmund and

the Ruhr Metropolis as a place for high technology

and science. In addition new leisure destinations

are emerging from this industrial legacy, which are

unique and very attractive to visitors from outside

the city. The Dortmunder U will not only house

creative and scientific projects but also be the new

home for the Museum Ostwall, which will in future

exhibit its col lection of paintings, objects and

photo graphs of the 20th and 21st centuries there.

In this way the U will become the western post of

Dortmund’s “Culture and Museum Mile”. From the

U-Tower, via the planned DFB Museum, the City and

Regional Library, the Museum for Art and Cultural

History, up to the Concert House and the Theatre,

the heart of Dortmund offers a high concentration

of outstanding cultural attractions, all within

walking distance.

So it’s clear that a visit to our city, including the

Dortmunder U, is certainly an experience and well

worth the trip. Enjoy!

Greetings, Ullrich Sierau

The Dortmunder U is both living memory and the future.

The U stands for union, uniqueness, undertaking,

upgraded architecture and urbanity – and all under

one roof.

Whoever comes here will recognize the importance of

the U for Dortmund and the structural change in the

Ruhr and will feel its international charisma. The U is

an attractive site because of its complex composition,

which is crowned by film director Adolf Winkelmann.

Because the U also stands for “Über raschung”–

surprise. On this site, innovative ideas and concepts

are being developed in the field of cultural education

in the digital age; partnerships are being formed between

art, science and creative economy; and spaces

are being created for interdisciplinary, integrated

learning, research and work. In the U many groups

are working together, including the Museum Ostwall,

the Hartware MedienKunstVerein, the Cultural Office

of the City of Dortmund, the Dortmund University of

Applied Sciences and Arts, the TU Dortmund University

and the european centre for creative economy

(ecce). In this way the U represents the best possible

continuation of the European Capital of Culture

RUHR.2010. Its motto “Culture through Change –

Change through Culture” is becoming reality here,

step by step. And so it is right that this new emblem

of the Ruhr is being opened in stages during the

European Capital of Culture Year.

Visitor numbers for the first months after opening

and successful events like the E-Culture Fair 2010,

which took place in Germany for the first time, are

proving the sponsors right. The Land of North Rhine-

Westphalia was one such sponsor. For the U project

we invested not only in bricks and mortar but also

in creative minds and therefore in the region’s future.

Interactive installations such as Exchange Fields

within the frame of ISEA2010 RUHR, 16th International

Symposium on Electronic Art, offer accessible

art and breathe the future.

In all of this it is personally important to me, that the

U is a place where the local creative community can

meet with creative workers from all over the world

– alongside young and old people who are interested

in the U and its varied attractions, and that people

can get to know each other and value each other. For

such meeting points are also always places of inspiration

and communication. They provide momentum.

Something is happening here. U is also for “Unterhaltung”

(entertainment). Therefore it is good, that

there is space under the roof for a colourful mixture

of education, art, economy, science, memory culture

and commerce. After all we want to appeal to all

people, not create an ivory tower for elitists.

I hope that many people experience the U as an impressive

place of past and future and thereby breathe

life into it. I thank all those involved for their cooperation,

their ideas and their untiring commitment

and I wish them all the success that they deserve.


6

THE DORTMUNDER U –

AN ART AND CULTURE CENTRE

FOR THE 21ST CENTURY

Dr. Andreas Broeckmann

FOUNDING DIRECTOR

Top: Exhibition E-Culture Fair 2010,

Interactive Urban Projection, MediaLAB,

Hogeschool van Amsterdam,

Photo: © Hans Jürgen Landes

Centre: Exhibition TRUST during

ISEA2010 RUHR, Seiko Mikami, Desire

of Code, Photo: © Hans Jürgen Landes

Bottom: Exhibition TRUST during

ISEA2010 RUHR, Opening performance,

Antoine Chessex and Thomas

Ankersmit, Diffusions / Acoustics,

Photo: © Mark Ansorg

During the European Capital of Culture RUHR.2010

the “Dortmunder U – Centre for Art and Creativity”

is being established in the former fermenting and

storage tower of the Dortmunder Union Brewery,

which was built in 1926/27 and is now protected as

a historical monument. From now on a continuous

stream of events, exhibitions and diverse cultural

happenings, involving a unique mix of art, research,

cultural education and creative business, will be

available here to a wide public, whose participation in

the events is especially valued. The Centre is based

on a collaboration between the various users of the

Dortmunder U building: the Museum Ostwall, the

Hartware MedienKunstVerein, the Cultural Office

of the City of Dortmund, the Dortmund University of

Applied Sciences and Arts, the TU Dortmund University,

the european centre for the creative economy

(ecce) and the U Cinema association, operating the

RWE Forum. The Centre is situated in Dortmund, in

the Ruhr Metropolis and in North Rhine-Westphalia

but also has international ambitions and partici -

pates in both regional and international projects.

The building was erected in 1926/27 to a design

drawn up by the architect Emil Moog and was immediately

one of the most imposing buildings in the Ruhr.

It embodied the Dortmunder Union’s importance

as one of the leading breweries in Europe as well as

the equal status that brewing held in Dortmund at

that time, alongside the coal and steel industries.

The four-sided “U” was designed by Ernst Neufert

and added to the tower’s roof in 1968 and has been

an emblem of the city ever since, greeting those

travelling to Dortmund from afar, and providing

a landmark for the city’s night-owls.

Today, after the conversion and renovation by Gerber

Architects, the Dortmunder U is a symbol, for the

city and for the whole Ruhr Metropolis, of new

departures and of the Ruhr’s structural change from

heavy industry to a region in which research and

science, creativity and culture are the most important

resources.

The constellation of the partners and the connections

between their respective work and projects

will shape the aims and objectives of the new

Dortmunder U. Since it was founded after World War

II, the Museum Ostwall has stood for a committed

and enlightened approach to the art of the 20th and

21st centuries, seeing art and aesthetic practice as

central to society and to the life of each individual.

For 15 years, the Hartware MedienKunstVerein has,

with its exhibitions, symposia and workshops, been

promoting and presenting artistic debate around

the current role of media and technologies. As early

as 1998, Hartware proved with its pioneering exhibition

Zones of Desire that the Dortmunder U made

an outstanding setting for the presentation of contemporary

art.

The TU Dortmund University brings specialist competence

to the mix, not only in the fields of art and

didactics but also with expertise from faculties such

as Economics or Urban and Spatial Planning, which

will strengthen the work and discussions going on in

the U. The Dortmund University of Applied Sciences

and Arts will contribute to the U’s programme not

only with its creative results from research and

teaching in its specialist area of design, but also with

a planned Research Institute for the Study of Moving

Images. The latter will take as its starting point

Prof. Adolf Winkelmann’s film installations for the U

and will develop the practical and scientific-theoretical

analysis of digital images and media façades. In

the multifunctional events space of the RWE Forum,

the U Cinema association offers an ambitious film

programme, which is being initiated by the International

Women’s Film Festival Dortmund | Cologne

and which will reinforce the collaborative work between

the various U partners by linking in to the projects

and programmes of the other institutions. The

european centre for creative economy – ecce, that

has already organized the creative economy work of

RUHR.2010 Ltd, is an U partner, whose main task is

connecting regional and national partners, networks

and skills. Finally, the Cultural Office of the City of

Dortmund is setting up a new Centre for Cultural

Education in the U and will bring its years of experience

in connecting people and networking to the mix.

The example of cultural education demonstrates that

none of the partner institutions has a one-dimensional

fixation with only one of the U’s four programmatic

pillars (art, creativity, education, research). All

partners are already active in cultural education and

will be able to consolidate, coordinate and strengthen

their activities with the new cooperative work,

housed under one roof. The same is true of the other

programmatic pillars, which will also be developed

in the shared spaces on the floor for temporary


8

exhibitions (U6), the Loudspeaker space (U4), the

RWE Forum and the Cathedral (U7). The special thing

about the Dortmunder U is that these various strands

and activities can be developed simultaneously, so

not to create a “Creative Centre with Art Annexe”

or a “Museum with Research Department”, but rather

a genuine, diverse partnership which is geared to -

wards taking on the chances and challenges presented

by the social changes for art and culture in

the 21st century.

Like the building itself, the new programmatic configuration

beneath the U is not completed by the time

of the Opening in December 2010, but by contrast

literally “opened”. The Dortmunder U takes the form

of an ambitious, open and forward-looking process,

that will – we hope – achieve national fame and

importance over the next few years as an interface

for many cultural and creative-economic networks

and as a skill centre for cultural education, for media

and digital art and for the synergies between art and

creative economy. The Centre for Cultural Education

is an experimental laboratory for innovative

strategies in the communication of art and culture

in the digital age. The Dortmunder U is becoming

an important hub in the medienwerk.nrw, a network

of media art institutions in North Rhine-Westphalia,

and working towards its success and expansion.

And the Creative.Quarter at the Dortmunder U delivers

momentum to the structural change in the Ruhr.

project U-Westend or the E-Culture Fair 2010, a

trade fair and exhibition for current artistic design

projects, how these cooperative projects with

regional and international partners can be further

developed in the future. When the partners move into

their event floors and offices in the coming months,

the process “Dortmunder U” will really get going and

soon cultural life in the Ruhr Metropolis and North

Rhine-Westphalia will be unthinkable without it.

We thereby subscribe not only to the epigrammatic

“Change through Culture” of the European Capital

of Culture, but also see culture itself as in the grip

of constant change, to which we must react with

our institutions and culture-political structures,

sometimes to speed the change up, sometimes to

slow it down, but always with a watchful eye. The

Dortmunder U aims to be a place where this change

can happen in a lively, open and courageous way.

Various U partners have already proved this year,

with projects as part of the Programme Prologue

such as the participatory exhibition and education

E-Culture Fair 2010, Dropstuff,

Photo: © Hans Jürgen Landes


10

A STRATEGY OF

LARGE PROJECTS

DR. DIETER NELLEN

REGIONAL ASSOCIATION RUHR (REGIONALVERBAND RUHR)

Whether it’s PHOENIX West, PHOENIX Lake in the

south of the city, or the U in the centre: Dortmund

thinks big. When converting its old industrial sites

it doesn’t always limit itself to their historical size.

The international norm is for urban and economic

development to support a “large project strategy”.

This is both courageous and risky. Such a strategy

is only realisable with considerable budgets, administrative

professionalism and a lot of staying power.

But there is no alternative: “National unity and globalisation,”

according to Engelbert Lütke-Daldrup

and Peter Zlonicky in their key publication on Urban

Development 1990 – 2010, “have promoted the re n-

aissance of large projects in Germany, by creating

new demands beyond cautious urban renewal and

pushing forward the internationalization of property

markets”. How else, in the age of megacities, could

one attract even a scrap of international attention

at trade exhibitions such as EXPO REAL or MIPIM?

INDUSTRIAL CULTURE AND THE Image

OF THE CITY

The triad of coal, steel and beer defined the old Ruhr

and its mythos. The Dortmunder Union Brewery was

in its heyday the biggest in Germany. Its city centre

position and the huge size of its buildings shaped the

image of the city both literally and metaphorically. In

a functional memory of that, a story is now being told

in Dortmund, that aims to lead from the past into the

future. Accordingly it first cites the brand essence

of a monumental brewery site, which achieved a peak

of modern-functional industrial architecture by building

a storage tower for the Union Brewery. The new

brand essence of the Dortmunder U is now art and

creativity.

THE STORY OF CHANGE

This location was the brewing and business site for

Dortmund beer for almost seven decades. Change

came at the end of the last century. At first it was

assumed that local government would limit its role

to the setting of goals in urban development, that

the property owner would have to organize their own

building and marketing. But that changed in the wake

of mergers in the European drinks market. Now the

City Council had to take over the role of developer,

investor and manager, at least for the space’s centre,

the U. Finally came the idea, to make a “Centre for

Art and Creativity” out of the great historical landmark.

The idea brought about not only an extended

conception, but also the linguistic ruling for a political

compromise. Clever stagecraft helped in the

decisive moment to clear away politically motivated

concerns on various levels against a continuation of

so-called “lighthouse politics” in the case of the U.

Dortmund became an even more important part of

the European Capital of Culture project. It is moving

closer to the region, intellectually and emotionally.

In a spatially prominent site, change through culture

can take place.

CLUSTER STRATEGY AND THE

CREATIVE.QUARTERs OF THE

RUHR METROPOLIS

A not insignificant amount is expected of the new institution.

The conversion project does not only aim

to offer a space for art, creativity and business.

Rather the whole quarter is to become an essential

part of a comprehensive cluster strategy in the wake

of structural change. In the programmatic structure

of RUHR.2010 the U functions as a metropolitan

The plan of the British architect Richard Rogers, now only of historical interest, shows a spaciously conceived park landscape © Richard Rogers

beacon project among the Creative.Quarters. The

creative economy is an important area of competence,

although its quantitative importance for

structural change may be disputed. In 2002 Richard

Florida published the study The Rise of the Creative

Class. Since then the triad of “Technology, Talent and

Tolerance” has, also in Germany, become the mantra

of structural change. Cultural politics have become

location strategy. North Rhine-Westphalia and the

Ruhr Metropolis do not want to be left behind and are

doing up suitable sites to a contemporary metropolitan

design. Economic experts such as Christoph

Schmidt, the President of the RWI (Rheinisch-Westfälisches

Institut für Wirtschaftsforschung) in Essen,

forecasts that creative economic potential will favour

Berlin as the nation’s capital; similar to the way in

which London and Paris are able to cream off talent,

although perhaps not so extreme. When asked about

the high status accorded to the creative economy

in the Ruhr he answered: “That has of course to do

with the European Capital of Culture, which is a great

chance for the Ruhr and will show many people how

we have developed in the last few decades. A topic

such as creative economy is very fitting at this time.

It has more to do with advertising and marketing

than with the real economy.”

CREATIVE ECONOMY AND THE MASTER PLAN

OF THE RUHR CULTURAL METROPOLIS

Nevertheless, creative economy (along with three

further areas of competence in the metropolis:

theatre and performing arts, transformation and

interculture) has an important role to play in the strategic

script of the master plan Cultural Metro polis

Ruhr 2020 that is intended to guarantee the sustainability

of RUHR.2010, delivering the programmatic

structure for the time following the European Capital

of Culture Year. There is particular urgency for the

creative economy. By 2013 considerable funds for

the benefit of creative economy projects are due

to flow into the Ruhr Metropolis. This is an enticing

prospect. The generous offer will affect an important

sector in the region’s structural change. There has

been a first attempt made to configure the european

centre for creative economy (ecce), under the umbrella

of RUHR.2010. ecce belongs to the strategic

core of the Dortmunder U. The organization of ecce

will be housed on the site of the Dortmunder U.

ecce needs a solid organizational basis, especially


12

A STRATEGY OF LARGE PROJECTS

in order to be able to act effectively in the time

after the European Capital of Culture Year. It will

remain to be seen, whether creative economy can

prove itself able to generate the expected economic

successes in the Ruhr Metropolis. Will the

planned creative quarters really become profitable

locations for creative economy and not just spatial

and architectural simulations of an internationally

current metropolitan design, with which the region

can sell itself as “cool”?

CHANCES AND CONDITIONS FOR SUCCESS

There are undoubtedly already successful examples

of such sites, known throughout Germany

and Europe: Hamburg’s Harbour City, the Rheinau

Harbour in Cologne or the Media Harbour in Dusseldorf,

various creative sites in London, Amsterdam

and Rotterdam. The U has the potential to be a

successful chapter in the history of change, with its

location (including Rheinische Straße), its building

and its investment. This site must not be diversified

to the point of characterlessness by any unconnected

businesses established purely for financial reasons.

1998 was the date of the first cultural takeover of

the Dortmunder U: by the exhibition Zones of Desire.

This opened up a new aesthetic view of the hidden

inner life of this industrial ruin in the heart of the

city. The organizers attached a hope to the unusual

exhibition venue: “Landmarks are indeed places of

desire, a nostalgia for the former greatness of the

area and the demand to play an important, that is an

independent and a globally not insignificant, role in

a new world.” The restored U now has the chance of

making exactly just such a vigorous new beginning.

This chance must only be used in the right way.

Top: Creative.Quarter Lohberg Dinslaken,

creative site in the Ruhr Metropolis

© RAG Montan Immobilien GmbH,

Photo: Thomas Stachelhaus

Centre: Ruhr Metropolis exhibit to the international

property market at the Expo Real in Munich

© Wirtschaftsförderung metropoleruhr GmbH

Bottom: Conversion site PHOENIX West in Dortmund

© rost:licht/Bodo Brauer, www.rostlicht.de


14

THE VISUAL ARTS rePLACE

THE ART OF brewING

Prof. Dr. Falk Jaeger

THE ARCHITECTURE FOR THE TRANS-

FORMATION OF THE STORAGE TOWER INTO

A CREATIVE PLACE

A cracked, rather unattractive block, a solitary figure

in the middle of an uninhabited industrial wasteland,

impressive and also slightly scary; inside, eight moderately

well lit, uniform storeys – it was certainly no

easy task, to build a Centre for Art and Creativity into

this problematic and unconventional relic of Dortmund’s

brewing tradition.

The architect Professor Eckhard Gerber from Dortmund

and his colleagues won one of two Second

Prizes in the architects’ competition (a First Prize

was not awarded) and were able to win through with

their design at a later stage of the process. Their

work was different from that of their competitors

principally in the way they proposed opening up the

building. While musea and media people are not

exactly unhappy with limited daylight from small

windows, because they like to work with controlled

artificial light anyway, visitors and also architects

like light, air and an impression of space. Many

competition entrants planned therefore to knock

light shafts through the building, which would on the

one hand provide extra light, and on the other hand

create a spatial connection between the building’s

floors. But the openness desired by these designs

had no chance of being realized, because the floors

were to be used by different institutions and because

such shafts would have contravened safety and fire

considerations.

Gerber Architects found another way to enable a

whole-building experience. They suggested taking

out the first section of ceiling along the east side of

the building on all levels, thus creating an atrium

of the building’s full height between the outer wall

and the floors. This “vertical art space” would open

up the building and enable visitors to experience

the historical building’s dimensions and aura. At the

same time the atrium creates an optical and physical

connection between the floors and their institutions,

a prerequisite for the desired synergy effect and the

multifunctional use of the building. This vertical art

space, along with the connection between the spaces

in the building and the annexe as well as the large

sky-lit hall, that Gerber Architects offered to create

on the 6th floor, were the decisive factors for the

decision to entrust the task to the Dortmund office.

After the façades and the roof pergola had been

renovated and the roofs had been renewed in accordance

with listed building guidelines, at the beginning

of 2008 the work could begin. The rejuvenation

treatment took effect. By removing traces of annexed

buildings and previous conversions and through the

renovation of the façades the building’s original quality

and dignity could be seen to its best advantage.

Fundamental to the conversion design are also the

brave additions to the seemingly impermeable old

building. They signal new subject matter and the

openness of the Centre for Art and Creativity vis-àvis

the city. They bring more light to the interior and

they offer space for particular functions: whether

it’s the glass porch on the ground floor, that acts as

Two-floor atrium, connecting the Museum Floors 4 and 5 © Gerber Architects, Photo: Hans Jürgen Landes

a draught excluder and as an entrance hall; or the

narrow, three-storey-high glass oriel on the western

side; or the VIP-Lounge, which sticks out of the façade

as a lookout on the 4th floor; or the two-storey

Library protruding on the 5th floor. They all signal to

the outside world that a new spirit with new substance

has taken up residence inside the old walls.

Immediately after crossing the blood-red porch and

entering the atrium, the visitor has an impression of

the whole building’s interior. The vertical art space

opens up above, the eye is pulled magically upwards.

Escalators offer a comfortable way of exploring

the upper storeys. But first the path leads straight

ahead into the ground-floor hall: a foyer, marketplace,

orientation point, but also a first art venue, where the

projections of a series of panorama pictures by Adolf

Winkelmann put you in the mood for the contents of

this cultural storage space. To the left is a hall, the

RWE Forum, which serves both as an events room

and as a cinema and which houses the International

Women’s Film Festival Dortmund | Cologne; to the

right is a cloakroom; straight ahead is the bistro/café.

The space on the west side in front of the café is

named after Emil Moog, the architect of the brewery

storage tower.

The journey up from the foyer on the escalator is

a special architectural experience, taking place in a

sphere between an outer wall which strives upwards

right to the top floor, and the modern floors

carried by strong concrete pillars and joists. The

First Floor is reserved for Dortmund’s universities.

The TU Dortmund University and the University of

Applied Sciences and Arts are represented here by

their media-specific institutes. Two central halls of

flexible usage are surrounded by offices and seminar

rooms. Like the outlying rooms the central media

room also has glass walls which give it contact

to what’s going on in the event halls. The Second

Floor of the Centre for Cultural Education, which is

currently divided up with temporary structures, is

planned to have a similar interior structure, with a

large internal room and a lecture hall in the middle

as well as outlying office and conference rooms;

whereas the Third Floor, belonging to the Hartware

MedienKunstVerein will remain mostly free of dividing

walls and will be fitted with temporary compartments

and media installations. The higher, almost

six-metre high rooms on floors 4 and 5 now house

the Museum Ostwall. Its entrance is a two-storey

high atrium on the south side of the tower which connects

both floors and enables visitors to easily orient


THE VISUAL ARTS rePLACE THE ART OF brewING

themselves. This is a room close to Eckhard Gerber’s

heart. The room-in-room conception of the museum

has been tailor-made for the collection by the Berlin

architects Kuehn Malvezzi. White walls form cabinets

in the form of individual “houses” with “alleys”

running between them; on the upper, emptier floor

there are even small “squares”. The “houses” retain

their character as fixtures, because they do not reach

up to the ceiling. For changing exhibitions, Floor 6 is

available to the Museum and to other partners in the

building, consisting of a hall divided into three aisles

by pillars. Next door in the annexe one is surprised

by a roomy sky-lit hall whose non-blinding northern

light opens up a multitude of possibilities. Gerber

Architects used self-carrying roof elements, reaching

from the east to the west wall, to enable them to

create a pillar-free hall of a size not otherwise seen

in the building. It is even bigger than the “Cathedral”,

as Floor 7 of the tower is named, because the word

comes into one’s mind upon entering the roof space

with its interesting beam construction. It was once a

cooling room, and its three staggered floors behind

the concrete pergola were fitted with slats to create

air movement. Now it has windows which offer a

wide view over the city. When the weather’s favourable,

one can even drink a cappuccino on the roof

terrace between the tower and the annexe. This impressive

establishment is fully accessible by means

of escalator and lifts and open to the public for food

and refreshment. As the panorama restaurant VIEW,

the top of the U-Tower promises to become not only

a prominent site in the city, but also, in attracting a

culturally interested public it has a special function in

the multiple usage of the Centre for Art and Creativity

and is as such bound into the building’s development

concept. In the U a structurally and architecturally

logical concept has been realized, connecting

the building’s various activities from the store cellars

to the roof café.

The oriel “Loudspeaker”

© Gerber Architects,

Photo: Christian Richters


18

Museum Ostwall

in the Dortmunder U

At the end of June 2009 the Museum am Ostwall,

which was opened in 1949, closed on the site that

gave it its name, and moved, during the European

Capital of Culture Year 2010, to make a new start as

the Museum Ostwall (MO) in the Dortmunder U. The

municipal art museum for art from the 20th century

to the present day, displays its collection on the 4th

and 5th floors of the Dortmunder U. A flexible area

on the 6th floor is available to the MO for temporary

exhibitions. In the Cultural Education area – on the

2nd floor – the Museum holds art workshops and

media labs, in seminar and event rooms, to make all

kinds of art available to people of all ages.

The architectural form of the Museum Ostwall on the

4th floor is based on a system of paths and houses,

while on the 5th floor the concept of houses and

squares creates a more open structure. The path

begins with Fluxus/Happening and leads chronologically

backwards to works of Expressionism. On

the 5th floor the tour begins with Fluxus again and

leads the visitors through rooms with works by Wolf

Vostell, Joseph Beuys, Dieter Roth, Martin Kippenberger,

Anna and Bernhard Blume to installations

by Jason Rhoades and Mark Dion as well as photographs

and videos by Adrian Paci, Tobias Zielony and

Freya Hattenberger. The Hans Breder Intermedia-

Archive is another important part of the exhibition.

The archive is looked after jointly by the TU Dortmund

University and MO and contains videos and

scripts from intermedia and art forms specific to

their time from the 1960s to the present day. Innovations

in the collection’s display include an interactive

picture archive and the MO Loudspeaker Programme

in the oriel window on the 4th floor. Visitors to the

Museum can get involved with the creation and

development of the interactive picture archive with

dialogue room, picture room and archive room. The

MO Loudspeaker Programme is sited in the oriel

window room, which is open to the public, and will

offer visitors the experience of changing examples

of sound art or their own works of sound, combined

with a view over the city.

The presentation of the museum’s collection is com -

plemented by posters, photographs, film extracts

and interviews with artists. Digital media stations

and audio guides enable the visitor to call up infor

mation about artists as well as about the connections

between the creation of art works from the

early 20th century to the present day. A fundamental

principle of the presentation is the annual alternation

of the works on display, to create a “collection on

the move”.

Since 2005 the MO has followed a concept of the

art museum as “power station”. This takes up the

pioneering thoughts of Alexander Dorner, who stated

decades ago that: “The new type of art institute is

not only not an “art” museum in the current sense,

but also not a “museum”. A museum is a preserver of

supposedly eternal values and truths. As a preserver

of eternal truths, as a collector of relics, in which

the timeless spirit of QUALITY lives, it seems to be

an escape from life. In spite of all external bustle it

feigns a peace and a tranquillity which does not and

should not exist.” In the spirit of these words, the MO

sees itself as a place of cultural memory, in which

the artworks are not exhibited as supposedly timetranscending

witnesses. Rather it is a place in which

artistic and aesthetic, historical, political and social,

architectural and urban developmental aspects of

the present and the future can be thematized: by the

collection’s artworks, by temporary exhibitions, by

courses and events. The MO is a store of the past and

at the same time a place of contemporary artistic

and social productivity. There are also many and various

points of intersection with our partners in the U,

with whom we have already been working for a while.

Top left: Joseph Beuys, Samurai Sword, 1983. Museum

Ostwall Collection © VG Bild-Kunst, Bonn 2010,

Photo: Jürgen Spiler

Top right: Max Beckmann, Self-Portrait with Cigarette, 1947.

Museum Ostwall Collection © VG Bild-Kunst, Bonn 2010,

Photo: Jürgen Spiler

Bottom left: Nam June Paik, Vinyl Album Shashlik,

1963/1980. Museum Ostwall Collection

© Nam June Paik Estate, Photo: Jürgen Spiler

Centre right: Tobias Zielony, Aral I, 2005.

Museum Ostwall Collection © Tobias Zielony

Bottom right: Mark Dion, Frankenstein in the Age of

Biotechnology, 1991. Museum Ostwall Collection

© Mark Dion / Galerie Christian Nagel, Photo: Jürgen Spiler


20

Hartware

MedienKunstVerein

HARTWARE MEDIA ART

ASSOCIATION

The Hartware MedienKunstVerein (HMKV) is a platform

for the production, presentation and communication

of contemporary and experimental (media) art.

‘Media art’ is not meant as a technically determined

genre “with a high fun factor”, but rather as contemporary

art that concerns itself both in content and

concept with the present-day world, which is strongly

characterized and radically altered by new media and

technology. The HMKV therefore occupies a unique

position in North Rhine-Westphalia – and in Germany.

From HMKV’s many international collaborative

pro jects a broadly diverse, international and open

network has emerged: a network that this institution,

the only one of its kind in Germany, has distilled into

a multi-faceted programme of exhibitions and events.

HMKV’s exhibitions are highly regarded within the

region, nationally and internationally. They are characterized

by a broad understanding of the concept

of media art, placing media art quite consciously in

the context of contemporary art. In 2007 and 2008

HMKV was nominated for the ADKV – ART COLOGNE

Award for Art Associations. In 2011, HMKV receives

the prestigious JUMP Annual Sponsorship Award for

art organizations by Kunststiftung NRW. Since 2000

HMKV has managed North Rhine-Westphalia’s Grant

for female Media Artists; since 2006 the office of

the North Rhine-Westphalian medienwerk.nrw has

been housed with HMKV.

Since its inception in 1996, the HMKV has staged

numerous exhibitions, programmes of film, video,

music and performance, workshops, lectures and

conferences in various cities in Germany and abroad,

including Dortmund. Since 2003 the venue in Dortmund

has mostly been the 2200m 2 PHOENIX Halle.

Among the 40 exhibitions of the last fourteen years

have been important projects such as Zones of Desire

(Dortmunder U, 1998); games – Computer Games by

Artists (2003); History Will Repeat Itself (2007);

Anna Kournikova … Art in the Age of Intellectual

Property (2008); “Awake Are Only the Spirits”–

On Ghosts and their Media (2009); Building Memory

and Arctic Perspective (2010).

In the U, the 3rd and 6th floors are available for

HMKV’s exhibitions, putting HMKV in the position of

being able to realize individual exhibitions as well as

large thematic group exhibitions. Up to now HMKV

has organized two large international media art

exhibitions each year in the PHOENIX Halle; from

2011 the frequency of exhibitions will increase, as

the Dortmunder U is available all year round. Up to

four exhibitions are planned to take place each year

on the 3rd floor of the Dortmunder U from 2011;

up to two of these exhibitions will extend to the 6th

floor. HMKV expects exciting synergies from the

neighbourly proximity with its other partners in the

Dortmunder U. In particular, the nearby presence

of the Museum Ostwall (MO) is of great importance

to HMKV. On the one hand the MO’s collection will

create an (art-) historical context in the U for HMKV’s

contemporary media art exhibitions; on the other

hand the MO’s collection will be able to access

current artistic, historical and political discourses

around media art. HMKV’s proximity to the TU

Dortmund University and the Dortmund University of

Applied Sciences and Arts as well as to the Centre

for Cultural Education creates an expectation of very

promising cooperative work and an expansion of

HMKV’s current activities in this area. It will be very

positive for HMKV to be able to use the professionally

equipped cinema (RWE Forum) on the ground floor

for film programmes and conferences.

Top: Arctic Perspective Exhibition,

HMKV in the PHOENIX Halle Dortmund 2010,

Photo: © Matthew Biederman

Left: Agents & Provocateurs Exhibition, HMKV in

the Dortmunder U, 2010, Photo: © Andrea Eichardt

Centre right: Building Memory Exhibition,

HMKV in the Dortmunder U, 2010, Photo: © labor b

Bottom right: E-Culture Fair 2010 – An initiative of Virtueel

Platform / The Netherlands, BAM / Flanders (Belgium)

and medienwerk.nrw / North Rhine-Westphalia (Germany)

in cooperation with ecce – european centre for creative

economy, organized by HMKV (Dortmund) as part of

ISEA2010 RUHR, Photo: © Hans Jürgen Landes


22

ecce

european CENTRE for

creative economy

The european centre for creative economy (ecce) is

an institute of RUHR.2010, based in the Dortmunder

U, which works to expand and support the creative

economy on a regional, national and international

level. RUHR.2010 has been the first European Capital

of Culture to recognize the various branches of the

creative economy as driving forces of social and cultural

changes. ecce ensures that creative business –

from film and games to music, from literature to

design, the visual arts and the independent cultural

scene – will also be promoted and strengthened beyond

the European Capital of Culture Year. Creative

business offers the Ruhr Metropolis a great chance

of mastering structural change. This mix of ventures

already makes a big contribution to economic,

cultural and urban future development, with its

broad-based markets, its technological affinity and

its identity-establishing products. Ideas and creativity

are becoming the most important economic

resource of the 21st century and therefore the motor

for the shift from an industrial to a knowledge society.

Creative economy has already grown to the

third largest form of business in Europe and it is

still growing.

So ecce sees its task to be: leading the discussion

about the structural promotion of the creative

economy on a local, regional and European level;

and positioning the Ruhr Metropolis as a central location

for the creative economy in Europe. Furthermore

the centre supports creative businesses through an

integrated process, which not only is considerate of

talent and its needs but also, with strategic urban

planning, enables the further development of existing

creative sites and creates new spaces. ecce recognizes

the creative economy to be an intersection of

culture, business, technology, urban development

and education, and develops and designs projects

and measures to lead to the sustainable development

of the creative economy in the Ruhr Metropolis.

This happens with the creative players here as well

as with international contacts, in order to exchange

experiences and create a suitable framework of

conditions. One of ecce’s main projects is the creation

of Creative.Quarters in the Ruhr region. The

Dortmunder U is one such “quarter” as Centre for Art

and Creativity, symbolizing the positive cooperation

between the various fields of the creative economy

and the change through culture. With its “ lighthouse

character” the U has attracted international attention

and made the Ruhr Metropolis the focus

of the European creative economy. For ecce this

Creative.Quarter is the ideal location at which to continue

its work for the creative economy and the region,

in collaboration with its partners in the fields

of art, culture, media, business and politics.

Top: Games Factory Ruhr in Mülheim / Ruhr – a unique themed building

for the games industry in the Ruhr and in North Rhine-Westphalia

© Games Factory Ruhr

Left / Centre right: E-Culture Fair 2010 – An initiative of Virtueel Platform/

The Netherlands, BAM / Flanders (Belgium) and medienwerk.nrw /

North Rhine-Westphalia (Germany) in cooperation with ecce – european

centre for creative economy, organized by Hartware MedienKunstVerein

(Dortmund), Photos: © Hans Jürgen Landes

Bottom right: Screen shot 2010 LAB – www.2010lab.tv © ecce24


24

DORTMUND UNIVERSITY OF

APPLIED SCIENCES AND ARTS

The Dortmund University of Applied Sciences and

Arts offers its approx. 8,000 students a practically

based education in 34 Bachelor and Master degree

courses, promising good future prospects in the

world of work. There is a wide range of courses, from

Architecture and Design, technical courses and IT,

to Applied Social Sciences and Economics. The creative

departments train graphic and photographic

designers, film-makers, object and interior designers,

scenographers and architects. Their creative potential

is reflected in outstanding results in interna tio n al

competitions as well as in numerous exhibitions and

in the founding of businesses in the creative sector,

and has developed into a strong economic factor for

Dortmund.

In 2010 the University of Applied Sciences and Arts

will be using the University Floor in the Dortmunder

U for exhibitions, events, projects, academic exchange

and public readings. In this way it is expanding

its creative presence in Dortmund’s City Centre.

The University of Applied Sciences and Arts plans to

organize exhibitions in conjunction with its partners

in the Dortmunder U, as it did in staging the 2010

photo-exhibitions The Market and In Dortmund’s

Parks or the exhibition Orange in the U from October

2010 onwards.

From 2011 the main focus of the University of Applied

Sciences and Arts in the Dortmunder U will be

the founding of the Dortmund Institute of Advanced

Moving Image Studies, with Professor Adolf Winkelmann

as its Director. The Institute will devote itself

to research topics with an international angle; provide

services for the creative economy; and support

teaching. By founding the Institute the University

wants to make a contribution to the demands of the

U as Centre for Art and Creativity. Close cooperation

with municipal, academic, cultural and creativeeconomic

institutions, as well as with other partners

in the U, could enable far-reaching synergies.

In the context of the rapid progress in digital film

technology, the planned Institute aims to use artistic

strategies to explore the development of the moving

image and its use in staged space, whether real or

virtual. It is hoped that the Institute will be an interface

between artistic development, advice for the

creative economy and interdisciplinary teaching. In

concrete terms it will investigate the convergence

of technical considerations and subject matter in previously

unconnected media platforms; research the

interaction of the contents of films and the surroundings

of their presentation; or test the latest technical

developments for the use for artistic processes in

electronic and spatial contexts. The Institute also

plans to teach the language of film in workshops,

specialist conferences and publications.

Furthermore, the Institute will develop and test

concepts for new, economically attractive usages

of digital film, beyond cinema and television; and

examine the specific demands made by companies

regarding the content, format and design of film.

The planned Institute will advise creative businesses

in the area of media communication: how they can

optimize the use of moving images in their customer

strategies. The Institute’s job description as part of

the University of Applied Sciences and Arts will also

include the conceptual development of a Masters

degree course with a specialism in digital film. In

addition, the Institute will enable students of many

different subjects to take part in its conferences and

other events.

Top: Model Room in the Dortmund Institute of Advanced

Moving Image Studies, Photo: © Hans Jürgen Landes

Centre left: In Dortmund’s Parks Exhibition,

Photo: © Dortmund University of Applied Sciences and Arts

Centre right / Bottom: The Market Exhibition,

Photos: © Dortmund University of Applied Sciences and Arts


26

TU DORTMUND UNIVERSITY

TU Dortmund University has developed a unique profile

with a special combination in the fields of natural

sciences and engineering on the one hand and social

sciences and cultural studies on the other. At the

University, some 300 professors, 3,500 academic

and non-academic staff members as well as around

25,000 students are focused on new knowledge,

methodologies, technical innovations and cultural

change. TU Dortmund University is particularly

strong in its four main research areas, “Production

and Logistics”, “Chemical Biology and Biotechnology”,

“Modeling, Simulation and Optimization of Complex

Processes and Systems” and “Youth, School and

Education Research”.

In the past few years, TU Dortmund University has

become very active in the founding of enterprises in

the cultural and creative economy and has achieved

an excellent reputation in the communication of

art and culture to a wider public. Special support

programmes particularly for students in the fields

of arts and cultural studies help these students to

acquire the skills they need for future professional

independence. There are already a number of

TU-alumni who have successfully started a creative

enterprise. The potential of science, art and culture

is becoming increasingly interesting for businesses.

When companies think creatively, new solutions

and strategies for business and technology emerge.

The University Floor in the Dortmunder U is TU

Dortmund University’s city campus. In the U,

TU Dortmund University will demonstrate that art,

creativity and innovation are important to the university

and that science and research are significant

parts of the cultural system. TU Dortmund University

will organize events and workshops for members

of the university and the public at large, complemented

by regular exhibitions, award ceremonies,

readings and other events.

There is an extended notion of culture behind TU

Dortmund University’s activities in the Dortmunder

U. The focus is on conveying an understanding of

the various academic cultures that characterize the

University’s identity. With its new location in the city

centre the “City Campus” opens up new possibilities

to disseminate information about the university’s

offerings and allow its visitors a first glimpse into

academic life. TU Dortmund University’s projects in

the Dortmunder U are both, a continuation and an

extension of its previous cultural-social and academic

activities in the city and in the region as a whole.

In the spirit of the Dortmunder U’s conceptual framework

as a Centre for Art and Creativity, TU Dortmund

University sees great potential not only in the availability

of space for public events and exhibitions,

but also in the permanent link between business,

research and culture on the University Floor. On the

one hand, TU Dortmund University aims at promoting

knowledge of business skills to people from

creative, and artistic fields (“business for culture”);

on the other hand, strategies of artistic and creative

thinking should be made available to people from the

business world (“culture for business”). Starting in

2011, regular workshops and events for students and

practitioners in business and art will be offered.

TU Dortmund University will bring its whole expertise

to the U. TU Dortmund University sees a wonderful

opportunity to contribute to the Centre for Art and

Creativity, to create joint projects with other U

partners and other players from the city and the

region, and to contribute to the development of the

Ruhr metropolitan region beyond the European

Capital of Culture Year 2010.

Top left: Opening of the U-Westend Exhibition,

Photo: © Jürgen Huhn

Top right: tu | kultur – TU Photo Exhibition in the U,

Photo: © Jürgen Huhn

Centre: Works from U to Emscher Exhibition,

Photo: © Jürgen Huhn

Bottom: U-Westend Exhibition,

Photo: © Jürgen Huhn


28

CENTRE FOR

CULTURAL EDUCATION

The Centre for Cultural Education is located on

the second floor of the Dortmunder U. This is where

new forms of cultural education in the interaction

of digital and electronic media and the production

and communication of art are tested and offered.

New media are a part of our everyday culture, and

therefore they also change the spectrum of artistic

production. The Centre wants to teach cultural and

aesthetic media competence and support a creative

and critical approach to new media. Topics for

interdisciplinary projects are developed jointly with

other U partners, who bring their years of experience

to the table. The projects focus on themes from art

and culture, science and society. Their artistic reworking

with the use of new media – as for example

in the production of electronic music, the use of the

internet and of Web 2.0, the creation and use of video

sequences in dance and theatre productions, or the

creative production of games – will be examined and

then communicated not only to children and young

people, but also to teachers and adults of all ages.

A generously sized exhibition space is available for

the presentation of artistic works.

The Dortmunder U is a symbol of the city’s transformation

from an area of brewing and heavy industry

to a society of knowledge and service, in which

culture plays a considerable part. Cultural impulses

and cultural variety make the city attractive and

help to ensure its future success. They also provide

the basis for growing enterprises such as those in

the creative economy to build on. Access to art and

culture must not be a privilege for the few. Cultural

education is a key qualification and a cross-sectional

task for many of the city’s cultural players. In recognition

of this, the City of Dortmund’s Cultural Office,

with the support of the regional government of North

Rhine-Westphalia, has worked out a Municipal Plan

for Cultural Education, to coordinate the many expert

initiatives and offers of this kind throughout the city.

This has resulted in the creation of the Cultural

Education Contact Point and a network of providers

in Dortmund. Funding tools are being developed for

projects including some for pre-school children. The

Centre for Cultural Education is tied to this city-wide

network.

The Centre for Cultural Education unites the skill

bases of the U partners in art and culture, academic

work and creative economy. For the Museum Ostwall,

education and communication are tied into its

concept of the “Museum as Power Station”. In the U,

the Museum will build on its previous education work,

to extend its range of offers, methods and projects,

which will also take place on the second floor. The

Hartware MedienKunstVerein does not only have

a programme of exhibitions but also offers practical

experience in media art in its workshops and supports

children and young people in media competence.

The U Cinema enables schools and interested

young people to experience an age-appropriate

encounter with the medium of film. The european

centre for creative economy, ecce, stands for the

connection to the creative economy and the support

on offer for embarking on a creative career. Exhibitions

and research projects in the field of cultural

education will take place in partnership with the

Founding Director, TU Dortmund University and the

Dortmund University of Applied Sciences and Arts.

The results will be presented publicly.

The network of experienced partners in the U creates

an exciting experimental sphere for the creative

application and communication of skills in the use

of new media in art, science and society.

Various teaching projects in the Museum Ostwall

and in the Hartware MedienKunstVerein

Top / Centre right, Photos: © Hans Jürgen Landes

Centre left / Bottom, Photos: © HMKV


30

RWE Forum | U CINEMA

The RWE Forum on the ground-floor brings a versatile

venue for presentation and communication to the

U. It fulfils the spatial and technical requirements for

a regular cinema programme, and for seminars and

lectures as part of national and international conferences,

but also for a discourse between visual artists,

film-makers, media artists and the public. In addition

the RWE Forum is fully equipped for screening analogue

or digital film – making it one of the most modern

cinema spaces in Dortmund. The RWE Forum

has space for almost 200 people, and will provide

lecture and film events for the U’s cultural and higher

education institutions as well as for the general public.

Responsibility for the conceptual development of

the RWE Forum as a cinema is held by a supporting

association whose members include the U partners

as well as individuals closely involved with the U and

the International Women’s Film Festival Dortmund |

Cologne. The creation of the RWE Forum was made

possible by the generous sponsorship of the RWE

Vertrieb AG, Dortmund.

Running a cinema for cinematic art is a demanding

curatorial job, an artistic, creative, substantial work.

The cinema programme incorporates works from

film history as well as films reflecting current events

and events in the art world, thereby enabling a

relevant critique of conventional cinema practice. In

pooling together the skills and international contacts

of all the in-house partners to develop outstanding

programmes of cinematic art and cross-media projects,

the U offers a unique basis for a cinema with

high ambitions. The RWE Forum | U Cinema is the

new festival address for the International Women’s

Film Festival Dortmund | Cologne. A cinema with the

latest technology, the open foyer, the Cathedral, the

Centre for Cultural Education all make the U into a

perfect festival venue.

The moving image is a young art form with a rapid

development in terms of its visual and technical form

and in terms of its content. The cinema programme

in the U is characterized by its courage to experiment.

It is open to new, intermedial forms of presentation

and open-minded about new visual concepts. Cinema

is still in its digital infancy; the task in hand here is to

stretch the boundaries of its capability. Collaboration

between the cinema and the universities is a good

basis for the fulfillment of this task and provides the

related chance of analysing the cinematic innovations

of the next generation.

Cinema in the U as a ‘School of Seeing’. Seeing and

understanding films – as with literature and the

visual arts – can be learnt and taught: as early as

possible, in the company of others if possible, if at all

possible in a cinema. The RWE Forum | U Cinema is

an important place for the artistic-aesthetic teaching

of film for schoolchildren of all ages and from

all kinds of school: in project weeks and in training

courses for teachers. Young people’s experiences of

film and images, often made via YouTube, MySpace

and other social networks, will be taken on board

and then developed in a productive way. The Cinema

will work closely with the Centre for Cultural

Education in the U.

The RWE Forum | U Cinema is open to all kinds of

themes, formats and target groups. All genres and

formats will be included, from short films, documentary

films, art films and feature films in their

original language, to experimental films. Groups

of people interested in film will have the chance to

construct and present their own programmes. The

cinema showings represent the ideal complement to

the U’s overall artistic concept: a place both for the

avantgarde of moving images and for film history, in

the centre of Dortmund, for all its citizens, for the

younger generation and for national and international

visitors. Integrated into the U’s network of innovative

cultural offers, the RWE Forum | U Cinema will

become a public space for cinematically outstanding

social experiences.

3D Simulation of the RWE Forum

© Gerber Architects


32

JOURNEY INTO THE U

FLYING PICTURES BY

ADOLF WINKELMANn

Anna Tüne

A FILM INSTALLATION

IN THREE STATIONS

FIRST STATION

U-TOWER PICTURE CLOCK

Film artist Adolf Winkelmann has transformed the

U-Tower into a picture clock, reminiscent of baroque

church towers with their ingenious moving mechanisms.

The digital revolution has meant that moving

pictures have long taken off from cinema and television,

and now fly freely from laptops to mobile phones and

around our cities. For the film-maker it was therefore

only a small intellectual step to his staging of the

old storage tower of the Dortmunder Union Brewery.

Winkelmann illuminates the tower’s unique rooftop

with film images. The observer looks into the building’s

interior as though through a gauze, which is more or

less transparent, depending on the weather, the season

and the light conditions, indeed different from minute

to minute. Winkelmann creates the sense of a space

behind the colonnades and fills it with life, with imaginary

water or with beer. Every hour on the hour it is

inhabited by large pigeons. As a secular church tower

the U-Tower is intended to give signs of light, signs

of life, sketch silhouettes of human motion onto the

sky above the Ruhr.

SECOND STATION

RUHR PANORAMAS IN THE ENTRANCE HALL

On eleven screens suspended above the visitors’ heads,

Winkelmann shows associatively assembled panoramas,

his map of the Ruhr Metropolis. It is a stream of

images of documentary views, taken in many locations

in the Ruhr area. The incredible precision, the almost

machine-perfect gliding of the panoramas is a carefully

and accurately created effect made possible by highly

specialized technology. Sometimes the camera eye

follows, with an unshakeable steadiness, the profiles

of façades made of stone, glass, plastic and plaster

around a narrow town square, unutterably and movingly

ordinary; sometimes it leads us to believe in its

freedom and scans the panorama of a slag heap, only

to be confronted with the feeling that it is precisely this

freedom that cannot be found; but always the precisely

created aesthetic of the chain of images confronts the

viewer with an undeniable experience of highly objective

reality. The grave material present is garishly illu mi -

nated. Nevertheless, the visitor is embraced by the

stream of pictures, which complement each other, fall

apart like the image in a kaleidoscope and then recreate

themselves in the next moment into great, moving

panoramas. The factuality of these outside worlds is

boosted into a hyper-reality which is difficult to repress.

THIRD STATION

NINE WINDOWS IN THE VERTICAL ART SPACE

The film staging continues in the stairwell, making

even a ride on the escalator an experience. The

installation invites the visitor to explore the museum

storeys or to have a look at the creative workshops.

Nine virtual image windows open up on the vertical

art space’s internal wall. They take the form of small

square holes in the concrete, facing outwards or

inwards, over three storeys. These image windows

are the stage setting for the people of the Ruhr, for

their attitude to life, their desire, their language. The

authenticity of this part of the installation rests

wholly on personal encounters with people who have

influenced Winkelmann’s life and world view; he is

involved here in an intimate sense: rigorously and

subjectively, even autobiographically, implicated. As

a film-maker he has, more than almost anyone, given

the Ruhr a new face while remaining affectionately

disposed towards its traditional character. He always

does this in a respectful way, while also playing with

individual clichés. He draws his figures – as clownesque

and creative, fit for everyday life but also drawn

towards the magic of the surreal, both difficult and

easy – with a completely unpretentious compassion.

Left: Nine Windows in the vertical art space

Right: U-Tower Picture Clock

Bottom: Ruhr Panoramas in the Entrance Hall

Photos: © Adolf Winkelmann

Created by Adolf Winkelmann

Script department: Jost Krüger

Camera: David Slama, Voxi Bärenklau

Sound compositions: Hans-Peter Kuhn,

Hans Steingen

Sound design: Matthias Lempert

Production: Christiane Schaefer

With: Dietmar Bär, Peter Fitz, Stephan Kampwirth,

Peter Lohmeyer, Jürgen Mikol, Caroline Peters,

Irene Rindje, Benjamin Sadler, Jürgen Schornagel,

Christian Tasche, Margret Völker,

Katharina Wackernagel, August Zirner

Winkelmann Filmproduktion GmbH for the

City of Dortmund © 2010


LEGAL NOTICE

Publisher: The City of Dortmund and the Regional Association Ruhr

Concept: Dr. Andreas Broeckmann and Dr. Dieter Nellen

Editorial Office: Antje Utermann-Funke, Dortmund

Translation: Dr. Ailsa Holland

Design: labor b, Dortmund

Printed by: DruckVerlag Kettler, Bönen / Westphalia

Responsible in accordance with

German press legislation: Dr. Andreas Broeckmann

Top: Changing Exhibitions space /

Sky-lit hall

© Gerber Architects,

Photo: Hans Jürgen Landes

Bottom left: The U’s structural

framework in the roof top

© Gerber Architects,

Photo: Hans Jürgen Landes

Bottom right: Vertical art space

© Gerber Architects,

Photo: Hans Jürgen Landes

ELECTRIFYING CULTURE!

NOW ALSO AT THE DORTMUNDER U.

The curtains are up at Dortmund’s leading landmark!

RWE is pleased to be part of it with the RWE Forum.

www.energiekulturruhr.de

© 2010, The City of Dortmund, Regional Association Ruhr


Welcome to the

neighbourhood

and to a good cooperation

along Dortmund’s

Cultural Mile.

Together, we have

the energy to lead.

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