Voss, Jeronimo

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Voss
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Jeronimo
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Voss, Jeronimo

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2010 - 20184
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Einstellungen

Institut: Institut Kunst Gender Natur × Autor:in: Sehrt, Jessica ×

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Gerade angezeigt 1 - 4 von 4
  • Vorschaubild nicht verfügbar
    Publikation
    Produktion, Reproduktion, Kooperation: Die Villa von der ‚negativen Utopie‘ zum Gemeinschaftshaus
    (Birkhäuser, 2018) Voss, Jeronimo; Stiehl, Martin; Sehrt, Jessica; Tattara, Martino; Aureli, Pier Vittorio [in: Arch+ 236: The Property Question]
    Today more than ever, production transcends the boundaries that, since modernity, separated the domestic space from the workplace. New forms of production imply the overlap between work and life, to the point that they become indistinguishable. This condition clashes with the very purpose of the domestic interior, which, since its invention in the eighteenth century, supposedly existed in compensatory opposition to the work sphere. Commenting on the emergence of the domestic interior, Walter Benjamin wrote that “For the private individual, the place of dwelling is for the first time opposed to the place of work. The former constitutes itself as interior. Its complement is the office. The private individual, who in the office has to deal with reality, needs the domestic interior to sustain him in his illusions.” Source: Dogma, Realism Working Group: „Production, Reproduction, Co-Operation: The Villa from “Negative Utopia” to Communal House“, in: The Property Issue – Ground Control and the Commons, Aachen 2018, Page 154–173, hier S. 154
    01A - Beitrag in wissenschaftlicher Zeitschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Artists’ Studios in Berlin. Interview with Florian Schmidt
    (Spector Books, 2015) Voss, Jeronimo; Sehrt, Jessica; Tattara, Martino; Aureli, Pier Vittorio; Stiehl, Martin; Florian, Schmidt; Hirsch, Nikolaus; Peleg, Hila; Kuehn, Wilfried; Fezer, Jesko; Hiller, Christian [in: Dogma + Realism Working Group: Communal Villa. Production and Reproduction in Artists’ Housing]
    How can the housing question (Wohnungsfrage) be appropriately reformulated in an age in which the work / life distinction is becoming increasingly blurred? The Realism Working Group and the architecture firm Dogma – in consultation with Florian Schmidt, Studio Commissioner of the Kulturwerk bbk berlin – are developing new living and working spaces for artists that challenge traditional designs and their underlying economic frameworks.
    04B - Beitrag Konferenzschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Production, Reproduction, Co-operation: The Villa from “Negative Utopia” to Communal House
    (Spector Books, 2015) Voss, Jeronimo; Sehrt, Jessica; Tattara, Martino; Aureli, Pier Vittorio; Stiehl, Martin; Hirsch, Nikolaus; Hiller, Christian; Peleg, Hila; Wilfried, Kuehn; Fezer, Jesko [in: Dogma + Realism Working Group: Communal Villa. Production and Reproduction in Artists’ Housing]
    How can the housing question (Wohnungsfrage) be appropriately reformulated in an age in which the work / life distinction is becoming increasingly blurred? The Realism Working Group and the architecture firm Dogma – in consultation with Florian Schmidt, Studio Commissioner of the Kulturwerk bbk berlin – are developing new living and working spaces for artists that challenge traditional designs and their underlying economic frameworks.
    04B - Beitrag Konferenzschrift
  • Vorschaubild nicht verfügbar
    Publikation
    Actualizing Realism
    (Dumont Verlag, 2010) Voss, Jeronimo; Stakemeier, Kerstin; Raether, Johannes Paul; Sehrt, Jessica [in: What is waiting out there]
    Can art make disparate realities perceivable and prompt us to participate reflectively in them? That is the central question to be posed by the 6th Berlin Biennale for Contemporary Art. How can it aid the viewer in assuring him/herself of his/her existence and of the world, in feeling more present in this world? Does it have the means at its disposal which film or other media and art forms do not? How can it call attention to the gap between the pseudo reality postulated by the public and personal life reality, how can it criticize this gap, or raise an awareness of it? How can it convey strange and unfamiliar realities by means other than hermetically sealed narrative forms, and thus reflect this strangeness in our own reality? In the midst of the overwhelming abundance of visual imagery produced incessantly by our media, how can reality and a critical view of its underlying conditions even be created? And finally, how does this reality relate to the present and its “passion for the real”?
    04B - Beitrag Konferenzschrift