Exhibition view:"Live Stream" by Patricia L. Boyd, Jason Hirata, Nina Könnemann, Michael E. Smith, and Matt Welch, Fluentum, Berlin

A Sophisticated Dialogue Between Form and Historical Memory at Fluentum

The exhibition “Live Stream,” hosted by Fluentum in Berlin from April 25 to July 27, 2024, presented a sophisticated reflection on the relationship between form and historical memory. Curated by Dennis Brzek and Junia Thiede, this collective showcase featured the works of Patricia L. Boyd, Jason Hirata, Nina Könnemann, Michael E. Smith, and Matt Welch, who created an intense dialogue with the architectural environment of the former Nazi Air Force headquarters, later used by U.S. forces.

Upon entering the exhibition, visitors are immediately struck by the synergistic interaction between the artworks and the space. The historic nature of the site, with its austere natural stone walls, harmonizes with the contemporary installations, creating a complex narrative that spans time, blending past and present, stillness and dynamism.

The gallery’s atmosphere, intense and contemplative, is amplified by the solemnity of the architectural structure. The meticulously arranged works masterfully exploit the unique features of the environment, transforming the spaces of the old hall into a new and stimulating context for artistic exploration. Each installation invites visitors to reflect on their relationship with the surrounding space, both physical and historical.

The techniques employed by the artists vary widely, offering a multisensory experience that captivates and engages. Michael E. Smith uses subtle yet ingenious interventions to transform the monumental building into a flexible and malleable material, as exemplified by the image of a yellow plush toy trapped between bars, an eloquent symbol of a restrained yet alive history. Jason Hirata keenly explores the social dimension of exhibition-making, while Patricia L. Boyd uses old wooden planks to create a visual tension between fullness and emptiness, perfectly contextualized in the spacious atrium.

Matt Welch, combining kinetic sculpture, video, and sound, creates a harmonious fusion between the immaterial space of video and the physical environment of Fluentum, as illustrated by his wall projections. Nina Könnemann, through her films, observes the everyday life of public spaces, revealing the exceptional in the mundane and the ordinary.

These works reflect a thematic continuity in the artistic journeys of the participants, while introducing new nuances and approaches.

Michael E. Smith employs subtle yet ingenious interventions to transform the monumental building into a flexible and malleable material. A striking example of this technique is seen in the piece featuring a yellow plush toy, resembling a well-known Pokémon character, wedged between the bars of a window. This unusual choice not only challenges the visitor’s expectations but also evokes a sense of imprisonment and constrained freedom, a visual and conceptual reference to the troubled history of the site. The familiarity of the plush toy, contrasted with the rigidity of the bars, creates a powerful dialogue between carefree childhood and the heavy historical legacy of the building.

Patricia L. Boyd’s work continues her exploration of materiality and absence, evident in her suspended sculptures that play with light and space.

“Live Stream” transforms Fluentum into a field of tensions and dialogues between past and present. The works, through subtle and unexpected interventions, rewrite the history of the building, inviting visitors to explore new perspectives and meanings. The exhibition reminds us that art has the power to reactivate spaces and memories, making them alive and relevant in our time.