SOMA: Carsten Höller in Berlin

On the quest for another world, Carsten Höller follows in the Hamburger Bahnhof the origin of Soma, a mythical libation of the Indo-Germanic Vedas from the 2nd millennium BC. Soma brought the Vedas enlightenment and access to the divine sphere and was highly praised in their hymns. The herbal ingredient of this libation has not been passed on without a doubt, but from a botanic, ethnologic and etymologic view there is evidence that it could have been the fly agarics.
Based on these circumstances Carsten Höller develops a scenario between laboratory and vision, alleged objectivity and increased subjectivity.
Before the eyes of the observers unfolds an expansive “living picture”, a symmetrical experimental field, which is divided in two parts along its center line and which compares the ordinary world with the realm of Soma in a double-image experiment. This is an experiment, that find its completion in the imagination of the observer and whose evaluation is subject to your power of observation. On a mushroom like platform in midst of the arrangement resides a bed, where guests will have the opportunity to spend a night at the museum and to dive into the world of Soma.

Carsten Höller SOMA
5. November 2010 - 6. Februar 2011
Hamburger Bahnhof - Museum für Gegenwart - Berlin
Invalidenstr. 50–51,
D – 10557 Berlin

Massive Change: a manifesto for the future of global design

Design has emerged as one of the world’s most powerful forces. It has placed us at the beginning of a new, unprecedented period of human possibility, where all economies and ecologies are becoming global, relational, and interconnected.
In order to understand and harness these emerging forces, there is an urgent need to articulate precisely what we are doing to ourselves and to our world. This is the ambition of Massive Change.
Massive Change is a celebration of our global capacities but also a cautious look at our limitations. It encompasses the utopian and dystopian possibilities of this emerging world, in which even nature is no longer outside the reach of our manipulation.
For many of us, design is invisible. We live in a world that is so thoroughly configured by human effort that design has become second nature, ever-present, inevitable, taken for granted.
And yet, the power of design to transform and affect every aspect of daily life is gaining widespread public awareness.
No longer associated simply with objects and appearances, design is increasingly understood in a much wider sense as the human capacity to plan and produce desired outcomes. Engineered as an international discursive project, Massive Change: The Future of Global Design, will map the new capacity, power and promise of design.
Massive Change explores paradigm-shifting events, ideas, and people, investigating the capacities and ethical dilemmas of design in manufacturing, transportation, urbanism, warfare, health, living, energy, markets, materials, the image and information. We need to evolve a global society that has the capacity to direct and control the emerging forces in order to achieve the most positive outcome. We must ask ourselves: Now that we can do anything what will we do?
The best way to express the capacities of our modern world is through its fullest range of media. To date, Massive Change has taken on the form of a traveling exhibition, a book, a series of formal and informal public events, a radio program, an online forum, and this blog. Since the exhibition’s opening in October 2004, several school boards have expressed interest in incorporating the project’s ideas into educational curriculums.

Susan Philipsz wins the 2010 Turner Prize for Contemporary Art

The Scottish artist is the first person to win the £25,000 award for a sound installation.
Lowlands is a recording of Philipsz singing 16th century laments which she then plays in unusual locations, including supermarket aisles and a series of bridges over the Clyde in Glasgow.
The Turner Prize, which was set up in 1984, is awarded to a British artist under the age of 50 and is "intended to promote public discussion of new developments in contemporary British art".