Schopenhauerstrasse 5-6

Krzysztof Zieliński & Lampros Papanikolatos

Video & Photodocumentation of Ideal City - Invisible Cities in Zamość

Photo: Krzysztof Zieliński / European Art Projects

Albrecht Schäfer

Planspiel. Children Building Le Corbusiers

La Ville Contemporaine and Berlin Alexanderplatz, 2001/2006

Two-part poster installation

344 x 286 cm and 344 x 319 cm

Courtesy of the artist & Galerie Kamm, Berlin

Photo: Krzysztof Zieliński / European Art Projects

Rui Calçada Bastos

The Mirror Suitcase Man, 2004

Foreground right: The Mirror Suitcase Man #4

Lambda print, 100 x 120 cm

Background: single channel b/w video,

4:24 min, looped

Courtesy of the artist

Photo: Krzysztof Zieliński / European Art Projects

Melanie Smith, Spiral City, 2002

Left: Photo for Spiral City 2-I and 2-II

Gelatin silver prints, each 126.8 x 151.9 cm

Daros Latinamerica Collection, Zurich

Right: Spiral City, Video, b/w, 60 min loop

Courtesy of the artist and OMR Gallery, Mexico

Photo: Krzysztof Zieliński / European Art Projects

Krzysztof Zieliński

10 photos from the Hometown series, 2000-2003

C-prints, 54 x 80 cm each

Courtesy of the artist & Galeria Zderzak, Kraków

Photos: Krzysztof Zieliński / European Art Projects

Dan Graham, Homes for America 1966

Left: offset print

Courtesy Griffelkunst, Hamburg

Right: slide installation

Collection Dan Graham, New York

Photo: Krzysztof Zieliński / European Art Projects

Jonas Dahlberg, Invisible Cities, 2004

Film installation, variable dimensions

Courtesy of the artist & Nordenhake Gallery Berlin / Stockholm

Photo: Krzysztof Zieliński / European Art Projects

Brian O'Connell, Homes for German Sculpture, 2006

Left: Ranch 3 Times, Wood and enamel,

52.5 x 41.4 x 50.7 cm

Middle: 16 color photographs, 40.6 x 30.5 cm

Right: Cape Code, Wood and enamel,

59.5 x 21 x 20.5 cm

Courtesy of the artist & Adamski Gallery, Aachen

Photos: Krzysztof Zieliński / European Art Projects

Colin Ardley, Dark Limit, 2002

Wood, various papers

260 x 168 x 56 cm

Courtesy of the artist

Photo: Krzysztof Zieliński / European Art Projects

Ola Kolehmainen

Untitled No 13, 2005

C-Print, laminated with silicone on plexi-glass

248 x 180 cm

Courtesy of the artist

Photo: Krzysztof Zieliński / European Art Projects

Anton Vidokle

Nuevo, 2003

DVD projection (16 mm film edited in video format)

3:26 min.

Courtesy of the artist

Photo: Krzysztof Zieliński / European Art Projects

Francis Al˙s

Shoeshine, 2005

(Part of the video installation 'Guards')

Video, sound, 11:15 min.

In collaboration with Rafael Ortega

Commissioned by Artangel

Courtesy Lisson Gallery, London

Photo: Krzysztof Zieliński / European Art Projects

Guards, 2004-2005

Video, sound, 28 min.

A project by Francis Al˙s

A film by Francis Al˙s & Rafael Ortega

Commissioned by Artangel

Courtesy Lisson Gallery, London

Photo: Krzysztof Zieliński / European Art Projects

Carlos Garaicoa

Our Nomadic Spirit (from the series Because every

city has the right to be called Utopia), 2001

Sewing thread, pins, dim. var.

Collezione Gemma De Angelis Testa

Courtesy Galleria Continua, San Gimignano / Beijing

Photo: Krzysztof Zieliński / European Art Projects

Albrecht Schäfer

Berlin Alexanderplatz / Szenario 1.3., 2001

Collection Gaby and Wilhelm Schürmann, Herzogenrath

and

Berlin Alexanderplatz / Szenario 2.3., 2001

Collection Ruth Schneider and Peter Urban

pencil, charcoal, each 70 x 100 cm

Photo: Krzysztof Zieliński / European Art Projects

George Hadjimichalis

Workshop of Projects and Images in Crisis, since 1996

(Work in progress)

A hut, 277 images (at present)

203 x 538 x 290 cm

Courtesy of the artist

Photos: Krzysztof Zieliński / European Art Projects

The focus here is on works which deal with invisible cities, in the broadest sense.

Artists are still finding inspiration in Calvino's book, such as Carlos Garaicoa,

whose very title of his series of filigree, almost invisible wall drawings gives every city

the right to call itself Utopia. In Rui Calcada Bastos' video Mirror Suitcase Man

the city is invisible as a space; its image is reflected only in excerpts.

Krzysztof Zieliński's series Hometown, a photographic rumination on his native city,

does not offer a documentary report, but is rather a collection of situations

behind which the real city remains hidden. Albrecht Schaefer reconstructs

not realised designs for Alexanderplatz and George Hadjimichalis'

Workshop of Projects and Images in Crisis contains an elaborate archive,

a painterly, analytical cartography which also records the traces of cities

which have perished. Jonas Dahlberg, by contrast, finds invisible cities

far from any utopia in the faceless, unspecific medium-sized residential communities

in which the majority of the world's population lives. Back in 1966, Dan Graham

explored in a similar fashion the characteristics of interchangeable, prefabricated

suburban architecture in his slide projection Homes for America; in his view,

they contributed significantly to the development of the reduced, serial formal language

of Minimal Art. Ola Kolehmainen's large-format photographs as well as Anton Vidokle's

'popular geometries', are objective analyses of architecture and the structure

of facades and at the same time an homage to the grid. The connection between

grid and city is perhaps most striking in Melanie Smith's video Spiral City,

which draws the viewer into the sprawling grid of the megalopolis Mexico City

in a kind of ecstatic vortex. A city in which the individual gets lost,

which is growing so quickly that it can neither be mapped nor controlled,

a mega-city, certainly not an 'Ideal City', but perhaps more inspiring for artists

than any artificial paradise.