folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
folke  köbberling / martin kaltwasser, what is a public space? what is a cy-BORG square?
 

folke köbberling / martin kaltwasser


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what is a public space? what is a cy-BORG square?



The project was launched because the client wanted a concept for the public square unofficially known by its users as 'BORG Square' (BORG: abbr. Bundesoberstufenrealgymnasium). It is not a public square in its narrow definition, it has simply been left undeveloped — in front of the school, the BORG, and in front of and behind the entrance to the underground car park.
A workshop at the start of March 2008 was held at the outset to develop the project, with the invited artists GirlsOnHorses (Eva Egermann), Markus Grabenwöger, Folke Köbberling/Martin Kaltwasser, Nicole Six/Paul Petritsch and Sebastian Walther, from Lower Austria, Vienna, Berlin and Münster in Westphalia (D), and the curators. In the course of the workshop participants were comprehensively informed about Wiener Neustadt and BORG Square (32 Herzog-Leopold-Strasse) as well as discussing what makes a public square. The result is a science fiction project that plays with facets of Brazil and cyborgs, the invasion of the motorway and free fall in an attempt to address what a public square is.
A public square is characterised by the architecture and the people who use it, by the history and visions inscribed in it. The artists added a number of unusual images to the existing ones that opened up new possibilities for thinking about the location. Was ist ein Platz? was marked by subtle poetic interventions rich in allusions on the boundary to invisibility, as well as by loud interventions that occupied the space. The project left some recipients confused, others aggressive, while leaving others amused or even delighted for a moment.

The large-scale sculpture Autobahnkreuz (Motorway Junction) in the Esperantopark by the Berlin artists Folke Köbberling and Martin Kaltwasser alluded to the role of the car and its dominant claim to space, and was originally confronted with scepticism and rejection by the young people who use the park as a place to meet. Although Folke Köbberling did succeed in convincing individual youths to help. The work made of wood was situated on the lawn, and represented a cloverleaf motorway interchange in miniature as a walkway. Unfortunately, it only remained in tact for the day of the opening, and was so thoroughly destroyed during the following night that it had to be removed. One cause of the vandalism could, alongside a sceptical reaction to the art project, also have been the lack of suitable space for youths in Wiener Neustadt, a town with several schools.
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