{"id":6295,"date":"2023-11-02T16:24:35","date_gmt":"2023-11-02T15:24:35","guid":{"rendered":"https:\/\/quivid.de\/?p=6295"},"modified":"2024-05-17T10:35:18","modified_gmt":"2024-05-17T08:35:18","slug":"pattern-of-fame","status":"publish","type":"post","link":"https:\/\/quivid.de\/en\/pattern-of-fame\/6295\/","title":{"rendered":"PATTERN OF FAME"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":10,"featured_media":6302,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[148],"district":[188],"access":[194],"accessibility":[131],"space":[145],"year":[246],"gender":[137],"class_list":["post-6295","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bodengestaltung","district-obergiesing-fasangarten","access-auf-anfrage-zugaenglich","accessibility-barrierefrei-zugaenglich","space-innenraum","year-246","gender-w"],"link_en":"https:\/\/quivid.de\/en\/\/en\/pattern-of-fame\/6295","acf":{"werk_qv_id":"","werk_artist":[{"werk_artist_name":"Alada\u011f","werk_artist_surname":"Nevin","werk_artist_gender":"w"}],"werk_artists":[{"ID":6310,"post_author":"10","post_date":"2023-11-02 16:27:18","post_date_gmt":"2023-11-02 15:27:18","post_content":"Nevin Alada\u011f nahm an der documenta 14 (2017), der 57. Biennale von Venedig (2017), der Sharjah Biennale (2013), der Ruhr Triennale (2016), der XIV Biennale Internazionale di Scultura, Carrara (2010), der 11. Istanbul Biennale (2009) und an der 8. Taipei Biennale (2008) u.a. teil.\r\n\r\nIhre Arbeiten wurden international in verschiedenen Einzelausstellungen gezeigt, u.a. im Kurpark, Baden Baden (2023), in der Galerie Krinzinger, Wien (2022), in der Galerie Pilevneli, Istanbul (2022), bei Barakat Contemporary, Seoul (2022), im Museum Villa Stuck, M\u00fcnchen (2021), im Lehmbruck Museum, Duisburg (2021), in der Hayward Gallery, London (2020), im SF Moma, Museum of Modern Art, San Francisco (2019), Kestner Gesellschaft, Hannover (2018), Albertinum, Dresden (2018), Salzburger Kunstverein (2017), Lentos Kunstmuseum, Linz (2016), Kunstmuseum Stuttgart (2015), Kunsthalle Basel (2014), Art Space Pythagorion, Samos (2014), Berlinische Galerie, Berlin (2013) und bei Arter Istanbul (2012).\r\n\r\nIhre Arbeiten waren Teil von Gruppenausstellungen, u.a Bundeskunsthalle, Bonn (2023), Lenbauchhaus, M\u00fcnchen (2022), Biennale Bregaglia, Vicosoprano (2022), Kunstfestivaldesarts-Maison des Arts, Br\u00fcssel, (2022), The Moody Center for the Arts, Houston (2022), Tinguely Museum, Basel (2021), ArtScience Museum, Singapur (2021), Kunsthalle Mannheim (2020), Hamburger Bahnhof, Berlin, (2020), Schirn Kunsthalle, Frankfurt (2019), Martin-Gropius-Bau, Berlin (2019), The High Line, New York (2019), Kemper Museum of Contemporary Art, Kansas City (2018), Istanbul Modern, Istanbul (2017), The Jewish Museum, New York (2015), Center for Contemporary Art, Malm\u00f6 (2014), Mus\u00e9e d'Art Contemporain, Marseille (2013), Pinakothek der Moderne, M\u00fcnchen (2012), Museum of Contemporary Art, Tokio (2011).","post_title":"Nevin Alada\u011f","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nevin-aladag","to_ping":"","pinged":"","post_modified":"2023-11-02 16:27:18","post_modified_gmt":"2023-11-02 15:27:18","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/?post_type=artist&p=6310","menu_order":35,"post_type":"artist","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_location_district":"Obergiesing","werk_location_address":"Erweiterungsbau des Asam-Gymnasiums in der Schlierseestra\u00dfe 20, 81539 M\u00fcnchen","werk_location_longitude":"48.1145000800883","werk_location_latitude":"11.591389967634","werk_material":"17 Terrazzo-Fliesen und Messing, jeweils 90 x 90 cm","werk_technical_data":"","werk_technical_data_en":"","werk_client":"Landeshauptstadt M\u00fcnchen, Baureferat","werk_visibility":false,"werk_map":false,"werk_parts":"mehrteilig","werk_institution":"","werk_architect":"Hirner & Riehl Architekten, M\u00fcnchen","werk_architect_landscape":"TRR Landschaftsarchitekten Ritz und Lie\u00dfmann PartG mbB, M\u00fcnchen","werk_photograph":"Florian Holzherr","werk_author":"Lydia Kornd\u00f6rfer","werk_txt_long_en":"

Nevin Alada\u011f\u2019s site-specific installation “Pattern of Fame” refers to the similarly named “Walk of Fame” in Hollywood, even though it is not designed to be a tourist attraction. Strictly speaking, Alada\u011f\u2019s “stars” can only be seen by the pupils and teachers at the Asam-Gymnasium in Obergiesing. Alluding to the American original, the artist gives it an entirely new complexity, through its interplay with form and typeface.<\/p>\n

On Hollywood Boulevard, the two connotations of the English word “star” convey an easily understood message: This is where the most brilliant entertainment figures anywhere on the planet are honored. The name of each star is framed by a sparkling celestial body, a star. Nevin Alada\u011f adopts this scaled-down aesthetic. Seventeen of the 90 x 90 terrazzo tiles designed by the artist were laid on the floor in two areas of the Asam-Gymnasium: the skyway connecting the original building from the 1960s with the new, five-story annex designed by Hirner & Riehl Architekten, and in an atrium inside the new school building. As they are in Hollywood, the square plates with a black background and the central, coral-pink pictorial ornament are made of terrazzo. In Alada\u011f\u2019s work, though, the outer edges of each tile as well as the contours of its ornamental elements are framed in brass. Moreover, the inscriptions are not part of the pattern itself but are legible in the lower right edge.<\/p>\n

The complex figures found on the terrazzo plates seem to draw upon the entire circle of geometrical forms. The artist gathered them from around the world and supplemented them with items collected in the Munich area by the students of the Asam-Gymnasium. The gazes of both the artist and the students alit on barred windows, ornamental fa\u00e7ades, manhole covers, or other urban details. Combined with the inscriptions, the selected ornaments in “Pattern of Fame” are stylized, turned into symbolic representations of certain places in Munich or around the world. In contrast to the Hollywood experience, the attributions here are often in conflict with expectations. Upon closer inspection of the panels, the local and the global dovetail. Instead of differences, similarities are primarily visible. With all of them framed inside the square format, Perlach, Hong Kong, and Calcutta are conceptually close to each other. Ornaments framed in circles bring Cairo and Tel Aviv within reach of each other. Ultimately, these two forms appear to be directly related with those found in the Munich Residenz, the Frauenkirche, and in Giesing.<\/p>\n

The question of the pattern\u2019s origins, therefore, cannot be answered all that easily. And this is precisely where Alada\u011f\u2019s artistic concept\u2014already expressed in other works that concentrate on the meaning of ornamentation, such as “Social Fabric” (2017 onward) or the documenta 14 sculpture “Jali” (2017)\u2014is positioned. In Alada\u011f\u2019s art, exploring ornaments and patterns seems to be equivalent to the study of music. The artist treats both subjects as languages understood around the world, or else as semiotic systems that develop regardless of national borders. On a more abstract level, she also touches upon one of the most burning cultural, social, and political problems: the issue of ancestry, identity, and belonging. It is a theme that continues to confront the artist, who grew up in Stuttgart, now lives in Berlin, and whose family immigrated from Turkey. In front of this backdrop, the precision of “Pattern of Fame” (which, in passing, turns stereotypical worldviews upside-down) is hardly surprising. Without any sort of didactic overtones, schoolchildren and teachers are reminded every day of how people from diverse backgrounds have not only brought these forms to different places around the world, but also to our fellow human beings equally.<\/p>\n

Ultimately, this is also articulated on a formal level. The look of Alada\u011f\u2019s formal vocabulary here is reminiscent of diagrams of physical particles and chemical compounds, apparently having found a suitable environment here in the science- and technology-oriented Asam-Gymnasium. This makes it clear that ornamental fragments, i.e., individual elements, removed from their context can never represent the whole. These are not images of the Frauenkirche, or Paris, or Tokyo, but simply a smidgen of these buildings and places. The overall image, or the whole, would only be visible as the sum of all its parts. This kind of compound of various elements not only finds its corellary in physics and chemistry, but also in societal reality. Society as a body, the cultural field, and finally, humankind itself can be understood as a bundle of individual, distinct parts that react to each other, then form relationships, and later a whole, despite their differences\u2014or perhaps because of them.<\/p>\n","werk_img":[{"ID":6303,"id":6303,"title":"quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02","filename":"quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02.jpeg","filesize":629178,"url":"https:\/\/quivid.de\/wp-content\/uploads\/quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02.jpeg","link":"https:\/\/quivid.de\/en\/pattern-of-fame\/6295\/quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02-2\/","alt":"","author":"10","description":"","caption":"","name":"quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02-2","status":"inherit","uploaded_to":6295,"date":"2023-11-02 15:24:12","modified":"2023-11-02 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Die ortsspezifische Installation \u201ePattern of Fame\u201c von Nevin Alada\u011f referiert auf den namensverwandten \u201eWalk of Fame\u201c in Hollywood, ist jedoch nicht als Touristenattraktion angelegt. Genau genommen sind Alada\u011fs \u201aStars\u2018 n\u00e4mlich allein f\u00fcr die Sch\u00fcler:innen und Lehrer:innen des Asam-Gymnasiums in Obergiesing zu sehen, wobei die K\u00fcnstlerin \u2013 in Anlehnung an das amerikanische Original \u2013 im Zusammenspiel aus Form und Schrift eine v\u00f6llig neue Komplexit\u00e4t entstehen l\u00e4sst.<\/p>\n

Auf dem Boulevard in Hollywood wird durch die doppelte Konnotation des englischen Wortes \u201eStar\u201c eine leicht zu verstehende Botschaft vermittelt: Hier werden die am hellsten leuchtenden Figuren aus der Unterhaltungsbranche geehrt, die auf diesem Planeten zu finden sind, die Stars, indem ihre Namen in die symbolhafte Form eines funkelnden Himmelsk\u00f6rpers, eines Sternes, gefasst werden. Nevin Alada\u011f greift diese reduzierte \u00c4sthetik auf. Siebzehn von der K\u00fcnstlerin entworfene, 90 x 90 cm messende Terrazzoplatten wurden auf dem Boden des Asam-Gymnasiums verlegt. Sie sind in zwei Bereichen des Schulgeb\u00e4udes zu finden: in der Verbindungsbr\u00fccke zwischen dem urspr\u00fcnglichen Bau aus den 1960er Jahren und dem neuen, f\u00fcnfgeschossigen Erweiterungsbau von Hirner & Riehl Architekten, sowie in einem Lichthof des neuen Schulgeb\u00e4udes. Wie in Hollywood sind die quadratischen Platten mit schwarzem Grund und der zentralen, altrosa Bildfigur auch hier aus Terrazzo gefertigt. Bei Alada\u011f sind jedoch sowohl die \u00e4u\u00dferen R\u00e4nder der gro\u00dfformatigen Bodenfliesen als auch die Konturen der ornamentalen Elemente in Messing gefasst und die jeweilige Widmung findet sich nicht im Muster selbst. Sie ist am unteren rechten Rand in Kapit\u00e4lchen zu lesen.<\/p>\n

Die komplexen Figuren, die sich auf den Platten entdecken lassen, scheinen den gesamten geometrischen Formenkreis zu bedienen. Sie wurden von der K\u00fcnstlerin weltweit zusammengetragen und durch Muster erg\u00e4nzt, die die Sch\u00fcler:innen des Asam-Gymnasiums im M\u00fcnchener Stadtraum gesammelt haben. Der Blick der K\u00fcnstlerin und der Sch\u00fcler:innen fiel dabei auf Fenstergitter, Fassadenverzierungen, Gullideckel oder andere Details des Urbanen. In Kombination mit der Beschriftung scheinen die ausgew\u00e4hlten Bildfiguren in \u201ePattern of Fame\u201c zu symbolhaften Repr\u00e4sentationen stilisiert, die stellvertretend f\u00fcr bestimmte Orte in M\u00fcnchen und der Welt auftreten. Im Gegensatz zur Erfahrung in Hollywood ger\u00e4t hier die Zuschreibung jedoch h\u00e4ufig in Konflikt mit dem Erwarteten. Bei der genaueren Betrachtung der Tafeln verschr\u00e4nken sich Lokales und Globales. Anstatt der Unterschiede werden vor allem die \u00c4hnlichkeiten ersichtlich: So liegen \u2013 allesamt in das quadratische Formenspektrum gefasst \u2013 Perlach, Hongkong und Kalkutta denkbar nahe beieinander. In Kreise gefasste Ornamente lassen Kairo und Tel Aviv in greifbare N\u00e4he r\u00fccken. Diese beiden Formen scheinen schlie\u00dflich unmittelbar verwandt mit jenen, die an der M\u00fcnchener Residenz, der Frauenkirche und in Giesing zu finden sind.<\/p>\n

Die Frage nach dem Ursprung der Muster l\u00e4sst sich also doch nicht so leicht beantworten wie suggeriert. Und eben da setzt das k\u00fcnstlerische Konzept Alada\u011fs an, das \u2013 ebenfalls mit Konzentration auf die Bedeutung des Ornaments \u2013 bereits in anderen Arbeiten wie beispielsweise in \u201eSocial Fabric\u201c (seit 2017) oder durch die auf der documenta 14 ausgestellte Skulptur \u201eJali\u201c (2017) zum Ausdruck kam. Die Besch\u00e4ftigung mit Ornamenten und Mustern zeigt sich im Werk der K\u00fcnstlerin \u00e4quivalent zur Auseinandersetzung mit Musik. Beide Sujets verhandelt Alada\u011f als international verst\u00e4ndliche Sprachen oder Zeichensysteme, die sich ungeachtet von L\u00e4ndergrenzen entwickeln. Auf abstrakter Ebene ber\u00fchrt sie damit schlie\u00dflich eine der brandaktuellen, gesellschaftspolitischen Problematiken: die Frage nach Herkunft, Identit\u00e4t und Zugeh\u00f6rigkeit. Es ist ein Thema, mit der die in Stuttgart aufgewachsene und heute in Berlin lebende K\u00fcnstlerin, deren Familie aus der T\u00fcrkei emigrierte, selbst immer wieder konfrontiert wird. Vor diesem Hintergrund scheint die Pr\u00e4zision der Arbeit \u201ePattern of Fame\u201c, die im Vorbeigehen stereotype Weltsichten auf den Kopf stellt, also wenig verwunderlich. Ohne belehrende Haltung werden Sch\u00fcler:innen und Lehrer:innen hier t\u00e4glich daran erinnert, wie mannigfaltig die Hintergr\u00fcnde sind, die nicht nur diese Formen an verschiedene Orte der Welt gebracht haben, sondern \u2013 \u00e4quivalent \u2013 auch jede:n unserer Mitmenschen.<\/p>\n

Das dr\u00fcckt sich schlie\u00dflich auch auf formaler Ebene aus: Der hier gegebene Einblick in das von Alada\u011f entwickelte Formenvokabular erinnert an die schematische Darstellung physikalischer Teilchen und chemischer Verbindungen und scheint damit in dem naturwissenschaftlich-technologisch orientierten Asam-Gymnasium ein passendes Umfeld zu finden. So wird deutlich, dass die aus ihrem Kontext herausgel\u00f6sten Ornamentfragmente, einzelne Elemente also, niemals stellvertretend f\u00fcr das Ganze stehen k\u00f6nnen. Hier wird eben nicht die Frauenkirche, nicht Paris und nicht Tokio abgebildet, sondern nur ein winziger Teil dieser Geb\u00e4ude und Orte. Das Gesamtbild, oder Ganze, w\u00fcrde bekanntlich nur in der Summe aller Teile ersichtlich werden. Ein solcher Verbund verschiedener Elemente findet jedoch nicht nur in der Physik und Chemie, sondern auch in der gesellschaftlichen Realit\u00e4t seine Entsprechung. So l\u00e4sst sich auch der Gesellschaftsk\u00f6rper, der Kulturkreis und schlie\u00dflich die Menschheit selbst als ein Konvolut einzelner, unterschiedlicher Teile begreifen, die trotz oder gerade aufgrund ihrer Unterschiedlichkeit aufeinander reagieren, Verbindungen eingehen und ein Ganzes bilden.<\/p>\n","werk_txt_context":"

Das mehrteilige Kunstwerk \u201ePATTERN OF FAME\u201c der K\u00fcnstlerin Nevin Alada\u011f entstand f\u00fcr den Erweiterungsbau des Asam-Gymnasiums in der Schlierseestra\u00dfe in M\u00fcnchen. Es handelt sich dabei um ein Kunst-am-Bau-Projekt der Schulbauoffensive. Das Bauvorhaben sah eine Erweiterung des Bestandsgeb\u00e4udes auf ein 7-z\u00fcgiges Gymnasium vor. Der Neubau besteht aus einem 5-geschossigen Kubus mit Tiefgarage, einer Mensa, einer Pausenhalle und Klassenr\u00e4umen. Eine Anbindung an den Bestandsbau erfolgte durch eine Br\u00fccke im ersten Geschoss.<\/p>\n","werk_collections":[{"ID":7678,"post_author":"5","post_date":"2024-06-19 09:58:13","post_date_gmt":"2024-06-19 07:58:13","post_content":"","post_title":"QUIVID-Review #1","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"review-1","to_ping":"","pinged":"","post_modified":"2025-04-29 14:29:38","post_modified_gmt":"2025-04-29 12:29:38","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/review-1\/","menu_order":9,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":7699,"post_author":"5","post_date":"2023-05-08 13:28:18","post_date_gmt":"2023-05-08 11:28:18","post_content":"","post_title":"Last realized","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zuletzt-realisiert","to_ping":"","pinged":"","post_modified":"2025-04-28 16:19:34","post_modified_gmt":"2025-04-28 14:19:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/zuletzt-realisiert\/","menu_order":1,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_sort_data_district":"Obergiesing-Fasangarten","werk_sort_data_year":"2023","werk_sort_data_access":"auf Anfrage zug\u00e4nglich","werk_sort_data_category":"Bodengestaltung","werk_sort_data_artists":"Nevin Alada\u011f"},"featured_image_src_1280":"https:\/\/quivid.de\/wp-content\/uploads\/quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02.jpeg","featured_image_src_768":"https:\/\/quivid.de\/wp-content\/uploads\/quvid-muenchen-nevin-aladag-pattern-of-fame-kunst-am-bau-2023-02.jpeg","artists":[{"name":"Nevin Alada\u011f","url":"https:\/\/quivid.de\/en\/artist\/nevin-aladag\/"}],"tax_category":"Bodengestaltung","tax_access":"auf Anfrage zug\u00e4nglich","tax_district":"Obergiesing-Fasangarten","tax_year":2023,"_links":{"self":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/comments?post=6295"}],"version-history":[{"count":8,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6295\/revisions"}],"predecessor-version":[{"id":6770,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/6295\/revisions\/6770"}],"acf:attachment":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6299"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6301"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6305"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6307"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6297"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6303"}],"acf:post":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/artist\/6310"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/6302"}],"wp:attachment":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media?parent=6295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/categories?post=6295"},{"taxonomy":"district","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/district?post=6295"},{"taxonomy":"access","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/access?post=6295"},{"taxonomy":"accessibility","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/accessibility?post=6295"},{"taxonomy":"space","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/space?post=6295"},{"taxonomy":"year","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/year?post=6295"},{"taxonomy":"gender","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/gender?post=6295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}