LSD Gallerie, Potsdamer Strasse 65, Berlin
Opening: 2013/06/28 19:00
Opening times: Wed - Sat 14 -18 h and by appointment
Anneke Eussen's interest was triggered by her acknowledgement that the post-war buildings in Berlin preserved an alternative map of what the city must have looked like after Germany’s capitulation in 1945. Surreal architectural combinations define the actual urban landscape. “Günderzeit” and “Jugendstil” architecture, often being referred to as “Altbauten” are neighbored side by side with the “Neubauten”. Plattenbau was used as a fast way to resolve the shortage of housing. In the former GDR (East Germany) it became a matching ideal to equality. In the former BDR (West Germany), Plattenbau was also used to create social housing. The low construction cost of this prefabricated modular principle guaranteed living space at an affordable rent. Plattenbau became part of a new architectural era, that would later be named “modernism”. Modernism turned against “Historical architecture” and its playful, ornamental appearance.
The modernist’s idea to reduce architecture to essentials is, suited as a perfect solution for Germany’s defeated position after World War Two. “Zeitgeist” was far from celebration or abundance. Being humble reduces life to its basics.
Considering Berlin's appearance today, one could recognize this humble attitude in a very unspectacular skyline.
In 2009 and 2010 Anneke Eussen created her first works related to the Plattenbau architecture. In 2013 she build further upon this theme with the “NEUBAU Stuck” works, that visualize a typical Berlin phenomenon. In Berlin's city centre, modernistic buildings haven’t replaced the old architecture. The “Neubauten” merely fill up holes between the “Altbauten”. A fusion of multiple architectural philosophies creates a situation, which also determines the social structure of the city.
“NEUBAU Stuck”, is a work, which finds its existence in the compilation of materials from one period and its shape from another. So even if modernism tried to ban ornamental decorations, they have become “one” in contemporary street life of Berlin.
The “Stuckleisten” draw an exact 1-1 floor plan of the most popular types of a modular Plattenbau. (PS2 and WBS70). Presenting these floor plans in a gallery space turns them into modernistic structures.
Thematically these new works connect to the artist's idea about “changing values”. Even if we try to change from one ideal to the next, the actual reality rises with its application, and in that case change is just a rearrangement.