BNKR - current reflections on art and architecture

Under the title "The Architecture of Deception", the building type of the BNKR bunker in Ungererstrasse becomes the conceptual starting point. The exterior view, designed as a residential building, is a high-rise bunker that was built by the National Socialist regime in 1943 to provide a shelter for the population in the north part of Schwabing in Munich. In response to this architectural misleading, the curators will show contemporary artists who specifically use the repertoire of spatial and visual illusion in their work to create irritating spatial experiences. In addition, the question should be asked of theatrical role that art plays in the context of ideologically charged projects.

"The Architecture of Deception" encourages the viewer to question the obvious in a playful and at the same time critical manner. This is to remind us that what we see is always a question of perspective and therefore can hardly be an expression of a comprehensive reality.
The BNKR annual program “The Architecture of Deception” comprises two successive exhibitions and a series of public events. The first part of the exhibition “The Architecture of Deception” runs from Wednesday, March 4, 2020 to Sunday, July 19, 2020 and includes works by Cortis & Sonderegger, Emmanuelle Lainé, Hans Op de Beeck, Bettina Pousttchi, Gregor Sailer, The Swan Collective and others. Are shown next to
existing work commissioned by BNKR in the fields of photography, video, sculpture and installation. The second part of the exhibition opens in September 2020 - further information will be published in March 2020.

After “Staging Silence” 1 and 2, the internationally known Brussels artist Hans Op de Beeck (* 1969) shows “Staging Silence 3”, the third and last episode of a series of films in which two pairs of anonymous hands can be seen, the fictional interiors and construct and deconstruct landscapes on a mini film set. The film takes the viewer on a visual journey through depopulated, melancholic, yet playful places that are set up and broken down in front of the camera. For the first time in the series, this film also contains clear references to the life-size sculptures and haunting installations of Op de Beeck's oeuvre. A score inspired by the pictures, composed and performed by the composer and musician Scanner (UK), accompanies the film.