Heidrun Holzfeind at the Vienna Werkbundsiedlung

forms in relation to life / the Vienna Werkbundsiedlung
HD Video, 60 min, 2014

http://www.heidrunholzfeind.com/forms.html
 

In his text Harmony in the art of building published in the exhibition catalog Die Internationale Werkbundsiedlung Wien 1932 Oskar Strnad speaks of “the harmony between nature and geometric forms which have become meaning.” Referencing this and other ideals of involved architects, the film looks at how the ideas of the model houses are “lived“ today, 80 years after their completion.

32 Austrian and international architects, among them Josef Hoffmann, Adolf Loos, Oswald Haerdtl, André Lurçat, Richard Neutra, Ernst Plischke, Gerrit Rietveld, Oskar Strnad and Margarethe Schütte-Lihotzky were invited by Josef Frank to build one and two family homes with gardens for this model housing estate in Vienna‘s 13th district. The aim was to create comfortable and cost-efficient housing within minimal space, as an alternative to the superblock structures the city built at the time. After the exhibition, only a few of the houses were sold. The majority of the houses was eventually rented through the “Wiener Wohnen” (affordable housing) program by the city of Vienna.

This basic idea: to maximize the utilization of minimal resources ... to create space for real life. (Walter Sobotka)
I tried to capture the search for this “real life“ in images, visiting residents in their houses and gardens over the period of one year. The inhabitants recount personal stories and anecdotes, and reflect on the social fabric within the estate.

The film looks at what ideas were fulfilled and which ones failed, how the residents have adapted the houses to their own needs, how they deal with the minimal living space, the restrictions imposed by landmark regulations or the frequent tourist visits. A loose collection of the various characters, stories and lifes taking place in the estate.

People will live there and have visitors, small friendships and big enmities will please and hurt. The exhibition will turn into a residential estate, once and until the connection between house and happiness, of home and experience happens. Once not only the kids brought in by the new owners but the newborns will cry there, once the dead are taken away. Once people will live there. (Johannes Ilg: Die Werkbund-Siedlung, in: Wiener Allgemeine Zeitung, July 29, 1932, page 6).

with: Elisabeth Gaisser, Angelika Grasmuck, Raimund Heinz, Margot & Anatol Hruby, Ivana, Fabian & Vanessa Jäger, Susanne Kompast, Elfriede Mislik, Helga Mislik, Brigitte Perner, Walter Raschbach
kids: Pablo Brudermann, Maja Dertschei, Kuba Holzfeind, Lino, Luca & Vita Horak, Ferun & Miex Mayer, Rosali Michalka, Miles Mungin

concept/camera/editing: Heidrun Holzfeind; additional camera (costume parade): Ruth Kaaserer

Aurélien Froment + Soleri

Aurélien Froment
De l'Ombre des idées (21-11), 2014
Framed archival inkjet print on baryta paper
82 x 65,8 x 3 cm
ed 3 + 2

Tom Burr + Le Corbusier

Tom Burr, “The Storage Project,” 1993 Installation view, Unite D’Habitation Le Corbusier, Firminy, France, 1993

Erika Hock + Loos

Erika Hock “The Seamstress, Her Mistress, the Mason and the Thief” installation views at Tenderpixel, London, 2014.

Courtesy: Tenderpixel, London. Photo: Original&theCopy.

http://www.tenderpixel.com/Djabbari-Hock

Erika Hock’s practice is characterized by the fluid crossover in between sculptural and architectural elements, as well as a recent extended interest in tapestries and furniture that investigate meeting points between history, society and culture. Invested in discussions surrounding functionality and aesthetics, interior design and the perception of the body to the built environment, formed specifically for this exhibition Hock has centered her research upon the anecdotes surrounding Adolf Loos’s design for Josephine Baker’s house. Josephine Baker’s body as well as the building designed for her has become the subject of various studies, particularly in terms of understanding them as a surface for projecting modernist ideas at the convergence of art and architecture; theatricality and voyeurism. Hock’s playful panels of black and white felt reimagine the architectural body to the detail of the peeping widows as eyes, while evoke a playful theme of jazz. Treating the subject more generously, much like Sonia Delaunay’s and other early 20th century avant-garde artists’ textiles, they don’t describe a scene, a space or a character, but become it. Existing in between sculpture, wall based work and architecture, the tapestries explore the body’s relation to objects’ shape, form and scale through active presence and participation in the space.

Amie Siegel + Le Corbusier

Amie Siegel, Double Negative (detail), 2015. Two synchronized 16mm film projections, black & white / silent. Courtesy the artist and Simon Preston Gallery, New York.

http://www.villastuck.de/ausstellungen/2016/ricochet_10/index.htm

The Museum Villa Stuck is pleased to present Amie Siegel: Double Negative, the first large-scale exhibition of American artist Amie Siegel, establishing correspondences between seven of the artist’s works spanning a decade (2005–15) and including a newly commissioned film installation that gives the exhibition its title.

Known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, image-making and methods of observation, Siegel’s work moves between film, video, photography, performance and installation. The artist’s particular attention to the past, and the unfolding of time, provides the starting point for the exhibition’s structure: a series of “ritornellos,” reflexive passages of repetition and difference—Siegel, to quote Deleuze, “makes, remakes and unmakes” her works “along a moving horizon from an always decentred centre, from an always displaced periphery which repeats and differentiates them.”
The new commission Double Negative (2015) proposes ruptures between original and remake, artefact and copy, collection and preservation. Two 16mm films simultaneously project images of Le Corbusier’s iconic white Villa Savoye outside Paris, and its doppelgänger, a black copy located in Canberra, Australia. Each film has been printed on 16mm stock as a negative image, or polarity print, thus reversing light and dark. The Antipodean black Villa Savoye is, in fact, an ethnographic institute, dedicated now to the digital duplication of its extensive collections of anthropological films, photographs, slides and sound recordings, as Siegel reveals in a high definition colour video. The work enacts the infinite loop of recorded artefacts—the urgency to document and record “vanishing” rituals and cultural practices becomes instead the contemporary archival impulse to copy vanishing media formats to digital. These concatenated elements extend the artist’s engagement with architecture as a foil, enacting and revealing across constellation-like works, layered sociological and aesthetic concerns.

Shezad Dawood + Le Corbusier

Cities of the Future
September 24 - October 20, 2010

http://www.gallerychemould.com/exhibitions/shezad-show-2010/

After partition Nehru invited Le Corbusier to design the Chandigarh Parliament.
While one can look at this as the intervention of European Modernism in India, if one looks at the bigger picture there is an obvious thread of mystic geometry originating in the Indian Subcontinent that could be said to pervade and inform European Modernism.

Thus, hermetic forms such as the spiral and atomic structures, developed in tantra, can be said to play a major part in the evolution and thinking of the early Modernists, influenced as they were by theosophy and Rosiecrucianism.
These systems of thought in turn were heavily influenced by early Indian philosophy and played their part in the independence movement in India.

It is this full circle of ideas and forms that this exhibition looks to explore.

Using a combination of pieces on vintage textile and neon wall sculptures, the works in the show map out a trajectory between formal abstraction, architecture and sacred geometry.

Through looking at a circulation of forms between Le Corbusier's designs for Chandigarh, tantric symbols- and the utopian narratives that could be said to both contain and be contained by them- what the show points to are alternative currents towards a mystical mapping of the city of the future.

R.B. Kitaj + Le Corbusier

R.B. Kitaj, The Red Banquet, 1960
Oil on canvas, 122 × 122 cm
© R.B. Kitaj Estate/Walker Art Gallery, National Museums Liverpool

This surreal painting was inspired by the historic dinner in London to which the American consul invited a dozen of exiled revolutionaries in 1854. Kitaj puts the wild men - the anarchists Michail Bakunin (1814-1876) and Alexander Herzen (1812-1870) - into an elegant and modern architectural setting.

The painting "The Red Banquet" is exemplary of the artist's way of thinking and working. Kitaj combined motifs from different sources in such an unconnected and unexpected manner that the painting seems to be composed of mental leaps. Kitaj became familiar with this principle from the work of the surrealists, the American poets Ezra Pound (1885-1972) and T. S. Eliot (1888-1965), and Walter Benjamin, who he had discovered early on as a great "fragmentist."

While studying in Oxford in the 1960s, he first encountered the iconography of the Warburg Institute in London through Professor Edgar Wind. The icons hearken back to Aby Warburg (1866-1929), who published a remarkable inventory of pictures in his "Mnemosyne Atlas". Warburg's thesis that magic and logic share a common origin coincided well with Kitaj's thinking.

"The Red Banquet" is one of the first London pictures in which Kitaj inserted handwritten commentary as a collage form. In the commentary, Kitaj quotes from a publication on the historical banquet and explains the composition of the painting as well as the different sources of the collaged pictures:

"In February 1854, Mr. Saunders, the American Consul, gave a banquet to a dozen of the principal foreign refugees in London. Among the guests were Alexander Herzen, Garibaldi, Mazzini, Orsini, Kossuth, Ledru-Rollin, Worcell, and other refugee leaders. The party was completed by the American Ambassador James Buchanan, a future President of the United States.
Herzen is apostrophised on the left in this picture with the image of Michael Bakunin planted in his midsection.... (Bakunin was not present but arrived in London late in 1861.)
This 'Red Banquet' is described by E. H. Carr in his book The Romantic Exiles (Penguin, 1949). The scene has been set in a house based on a photo of Le Corbusier's house at Garches, near St. Cloud, 1927-28."

Terence Gower + Sert

This Mexico City exhibition is the second presentation of the full installation of Baghdad Case Study, originally commissioned by and conceived for Haus der Kulturen der Welt in Berlin. The installation uses the US embassy complex in Baghdad, designed by Jose Luis Sert and completed in 1960, as a platform to investigate the diplomatic devolution between the US and Iraq. As pointed out by Adam Kleinman in his Art Agenda article, the project has a particular meaning to Mexico, itself the target of past US interventions. The installation was modified slightly, all documentation now presented on a single table, plus the addition of a number of ink studies for Baghdad Screen, as well a new political chronology of twentieth century Iraq.

Documentation: Installation views, drawing details (ink on velum with collage)

Baghdad Case Study
(LABOR) Terence Gower, 2014 Cedar-veneer plywood, steel, paper, acrylic, digital prints, drawings on velum 6 x 18 metres overall

http://www.terencegower.com/baghdad-case-study-labor/

Exhibited at LABOR, Mexico City
Press Release: Baghdad Case Study
Link: Terence Gower’s Baghdad Case Study in Art Agenda
Related Project: Baghdad Screen

Iosu Arambaru + Le Corbusier

 

The arriving transatlantic liners, 2013.

This project was first developed during a residency at La Ene, in Buenos Aires.
It consists on a video installation showing a fragment of a Soviet musical movie, Cheryomushki (1963), where two young couples sing and dance in front and around an imaginary housing project. The video is shown inverted on a vintage TV which is placed on top of a mirror platform on the floor.
The starting point of the installation is a plan developed by Le Corbusier for Buenos Aires throughout the 30’s, and especially an idea that haunted him since his first glance of Buenos Aires in 1929: To move the business center from the old city to the middle of the river. This “cité des affaires” with rational, clean, magnificent structures build upon a concrete platform was a space where the city would open “in full light, in full freedom, in full joy” and where you could see the “arrival of the transatlantic liners and airplanes” . It was the arrival of a European modernity to a city and a continent with the possibility to build a new world, planed and rational. When the plan for Buenos Aires was developed and finally published in the 1940’s modernity had to be built from scratch. An economically flourishing Latin America could be the right place to start doing so.

 

http://iosuaramburu.com

Lucy McKenzie + Loos

"Loos House", 2013

Installation view, ‘Lucy McKenzie: Something They Have to Live With’, Stedelijk Museum, Amsterdam, 2013. Photograph: Gert Jan van Rooij. Courtesy the artist; Galerie Buchholz, Cologne/ Berlin; Cabinet, London; and Galerie Micheline Szwajcer, Antwerp

Luftwerk + Wright

http://luftwerk.net/projects/fallingwater/

Mary Lum + Le Corbusier

Villa La Roche, 2014
Acrylic, comic and photo fragments on paper

Nadia Kaabi-Linke + Le Corbusier

Modulor I
Installation made of brass // part of In confinement my desolate mind desires, Art | Basel Hong Kong 2014

The modulor is an anthropocentric scale invented by the Swiss born French architect and designer Le Corbusier. Its metric system is based on human measurements, Fibonacci numbers and the golden ratio. Le Corbusier himself described it as a “range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things.” The “harmonious measurements” were the overall height of 7.4 ft that should correspond to an adult with raised arms. The church of St. Marie de la Tourette was designed according to the modulor scale and equipped with 100 cells for monks with a height of 7.4 ft and a room width of 6 ft.

The only problem with human measurements is that there is not one global average scale. Even Le Corbusier had to realize that his initial French modulor of 5.7 ft needed to be adapted to 6 ft, because “in English detective novels, the good-looking men, such as policemen, are always six feet tall!” Thus, it was a fictional man who inspired the harmonious scale.

I got interested in the question how tall the people in the world really are. By this reason my attention was drawn to prison cells. These cells are highly rationalized spaces where no inch is wasted. I started a research and found out that the average prison cell in Germany should have a ground floor of 80 square foot, whereas the average cell in Russia has 27 square foot. Although Russia is a much larger country than Germany the people in Russia seem to be so much smaller. I got interested in getting more and more data from prison cells in different countries all over the world to compare the size of human beings. The work “Modulor” is a reconstruction of these data in order to create a visual grid that could be considered an empirical base for the global average human ratio. 

Ângela Ferreira + Siza

Ângela Ferreira 'Revolutionary Traces', installation view at Stroom Den Haag, 2014
photo: Hein van Liempd, courtesy Stroom Den Haag

http://www.stroom.nl/activiteiten/tentoonstelling.php?t_id=4294200

Asmund Havsteen-Mikkelsen + Grüntuch

Saturating Space
2014
186x140cm
Oil on canvas

Grüntuch Ernst Architects
Distanz
Dialogues
Simplicity and Innovative Ingenuity in Today’s Building
Editors: Ilka and Andreas Ruby

 

What is space? How can we experience it with the senses, how understand and rethink its urban and cultural dimensions? These questions stand at the beginning of the work of Grüntuch Ernst architects. They meet the complex requirements of building today by going back to traditional simplicity while producing innovative and ingenious technical solutions—and yet they return, time and again, to the central question of space. The new monograph offers a review of Grüntuch Ernst’s award-winning projects from the past ten years as well as more recent works and successful competition entries such as the German School in Madrid and the conversion of the former Jewish Girls’ School in Berlin into a venue for art and culture. Instead of traditional project descriptions, the book contains personal conversations in which the two architects reflect on the motivations that drive their projects and trace their evolution.

An exceptional approach to the architecture of the office appears in pictures created by the painter Asmund Havsteen-Mikkelsen and the photographer Heji Shin, who have used the means of their art to engage with Grüntuch Ernst’s designs.

http://www.gruentuchernst.de
http://shop.gestalten.com/gruentuch-ernst-english.html

Asmund Havsteen-Mikkelsen + Le Corbusier

Ghost
2012
55x70cm
Oil on canvas

http://www.asmundhavsteen.net

R.H. Quaytman + Mies van der Rohe

Passing Through the Opposite of What It Approaches, Chapter 25 (Mies van der Rohe St. Savior Chapel), 2012

Silver foil, silkscreen ink, gesso on wood
40 × 169 1/2 in
101.6 × 430.5 cm

Otolith + Le Corbusier

Otolith II
UK / India 2007
Video, 47mins, 42secs, Colour, Sound

http://otolithgroup.org/index.php?m=project&id=6
 
© picture by Aurélien Mole

Christian Chironi + Le Corbusier

My house is a Le Corbusier
Padiglione Esprit Nouveau
Piazza Costituzione 11, Bologna 
January 7–25, 2015 – residence period
January 14–22, 2015 – individual visits by appointment
January 23-–25, 2015 – open to the public

http://www.cristianchironi.it/news.html

Daniel Buren + Le Corbusier

Daniel Buren, Défini, Fini, Infini, 2014. Installation view, MAMO, Marseille, France. Photo: Sébastien Véronèse.

Monika Sosnowska + Mies van der Rohe

Monika Sosnowska, Tower, 2014. Steel, paint 332.7 x 3223.3 x 668 cm. Installation view, "Monika Sosnowska. Tower", Hauser & Wirth New York, 18th Street, 2014. Courtesy the artist and Hauser & Wirth Photo: Genevieve Hanson

New York, NY… Hauser & Wirth is proud to present Monika Sosnowska’s ‘Tower’, a mammoth new work that conjoins architecture and sculpture in order to explore the politics and poetics of space. Known for large-scale, site-specific installations, Sosnowska creates psychologically charged art rooted in existing structures and influenced by the built environment. She manipulates forms – collapsing, twisting, and squeezing steel – into disorienting configurations that not only alter perceptions of physical space but challenge our certainties about memory and our assumptions about societal structures.
‘Tower’ will be on view from 5 September through 25 October at Hauser & Wirth’s downtown gallery at 511 West 18th Street.
For over a decade, Monika Sosnowska has amassed a documentary archive of visual material, mostly photographs made during her walks around her native Warsaw. Recording the conditions of everyday life in Poland, she captures architectural details and structures – workshops, apartment blocks, abandoned buildings, demolition sites, forgotten places – that reflect the heritage, upheaval, stagnation, and rebuilding of the city and the nation’s Communist past. Imbuing a kind of cultural memory in her oeuvre, Sosnowska makes sculpture that manifests recollections, both individual and collective, that collide where ‘architectural space begins to take on the characteristics of mental space’. Her formal language echoes different contradictory modernisms: that of Polish constructivism of the 1930s, the minimal and conceptual tendencies of international art from the 1960s and 1970s, and the Socialist architecture found in Eastern European states.
With ‘Tower’ at Hauser & Wirth, Sosnowska takes on the International Style. Measuring approximately 110 feet in length, this sprawling work is inspired specifically by the design principles of German-born architect Ludwig Mies van der Rohe, the 20th century’s Ur- Modernist, and makes reference to the iconic International Style trope he elevated to sheer physical poetry: the glass curtain wall. With ‘Tower’, Sosnowska quotes the steel framework underlying the hung glass façade of Mies van der Rohe’s Chicago masterpiece, the Lake Shore Drive Apartments, abstracting, disfiguring and bending that framework into a fallen monument. Unmoored from its rational geometry, ‘Tower’ stretches and curves across the gallery’s vast exhibition space. Through Sosnowska’s re-imagining, a coolly elegant, machined, and perfectly readable structure is transformed into something wholly opposite.
Completed in 1951, the Lake Shore Drive Apartments are among the most striking examples of the radicalization of Bauhaus ideology. These 26-storey skyscrapers are robust steel-framed structures wrapped in deceptively sumptuous materials – floating mantles of steel and diaphanous glass – in a synthesis of aesthetics and technology. At the time of their completion, Mies van der Rohe’s residential towers were among the most expensive ever built, vivid symbols of the imaginative forces driving American capitalism. The transparency of the International Style expressed a dream of societal openness that, when deployed in such a refined and luxurious manner, translated into an expression of power and prosperity. Meanwhile, Mies van der Rohe’s elegant statement stood in stark juxtaposition to the ways in which the very same architectural style figured in the creation of a new social order in Poland under Soviet rule.
Sosnowska’s artistic process often begins with the creation of small maquettes and drawings, rooted in motifs of existing structural forms. Her work is then reproduced at a 1:1 scale with assistance from fabricators, technicians, and engineers, employing the same materials used in the referenced object. The huge steel framework of ‘Tower’ was first constructed as a whole, later cut into more than fifty parts for viable transport, each piece ‘sculptured’ under Sosnowska’s direction. The making of ‘Tower’ involved cranes, hydraulic presses, and chains in a labor intensive, heavily hand-worked process. Subverting its material’s prefabricated rigidity, ‘Tower’ twists and contorts the modernist grid to create a sort of reclining figure, a lyrical sculptural object that usurps perfect structural engineering. ‘Tower’ is the latest product of Sosnowska’s current exploration of the curtain wall as architectural motif and metaphor. In one recent work, for example, she reconstructed the glass façade of the Bauhaus School in Dessau, Germany, a legendary building designed by Walter Gropius.
A new catalogue will be published in conjunction with the New York presentation of ‘Tower’, featuring photographs by acclaimed Polish architectural photographer Juliusz Sokolowski, documenting Sosnowska’s artistic process from development of her initial ideas through to the intermediate steps of fabrication. Each stage is recorded, capturing the process of creation, manipulation, and change. The images will be complemented by an essay from art historian Andrzej Turowski, Professor at the Université de Bourgogne in Dijon, France.

About the Artist
Monika Sosnowska was born in Poland in 1972. She currently lives and works in Warsaw. This summer Sosnowska held residency at L’Atelier Calder in Saché, France (2014), and many of the models she created there will be the focus of an exhibition at Cahiers d’Art in Paris in fall 2014. Major solo exhibitions for Sosnowska have included ‘Market’, Perez Art Museum, Miami FL (2013); Aspen Art Museum, Aspen CO (2013); ‘Regional Modernities’, Australian Center for Contemporary Art, Melbourne, Australia (2013); The Modern Institute, Glasgow, Scotland (2012); ‘The Staircase/Die Treppe, 2010’, K21 Standehaus, Dusseldorf, Germany (2011); Herzliya Museum of Contemporary Art, Herzliya, Israel (2010); Kunstmuseum Liechtenstein, Vaduz, Lichtenstein (2007); and the Museum of Modern Art, New York NY (2006). In 2007, Sosnowska represented Poland at the 52nd Venice Biennale, where her work garnered critical international attention for the monumental sculpture ’1:1’ (2007).
Sosnowska will have important solo exhibitions in winter 2015 at the Serralves Foundation in Porto, Portugal, and Maison Hermes Ginza in Tokyo.

http://www.hauserwirth.com/exhibitions/2219/monika-sosnowska-tower/view/

Bernd Behr + Le Corbusier

Installation view, Bernd Behr, Amoy Gardens, 2003/07, 35mm slide projection with audio, 34 slides, dimensions variable. 


Amoy Gardens consists of a 35mm slide projection depicting 34 scenarios in and around the eponymous building in Hong Kong, a large-scale development including apartment blocks above a shopping mall. The complex became an epicentre of the region’s 2003 SARS crisis through a malfunction of its ventilation and plumbing systems, leading to a perpetual circulation of the virus throughout its interior. The timed, looped projection is accompanied by an audio recording of a young citizen of Hong Kong reading extracts from Exact Air, Le Corbusier’s treatise on hermetically sealed architecture (The Radiant City, 1933). Her struggle with and re-invention of the manifesto generates a new contingent space between crisis and proposal, event and narrative.

http://www.berndbehr.com

Bernd Behr + Mendelsohn

 

Still from Bernd Behr, House Without a Door, 2006, 16min 32 sec, High Definition video, colour, stereo.

In 1943 the US Army commissioned architect Erich Mendelsohn and RKO Radio Pictures to design and build a replica Berlin housing estate to test incendiary bombs for the Allied war effort. Borrowing its title from the lost proto-expressionist film The House without a Door (Dir. Stellan Rye, 1914), the work approaches the surviving structure through a series of documentary and constructed set pieces. These re-enact imagined screen tests or outtakes, tracing an oblique trajectory from 1920s German expressionist films such as Fritz Lang’s Dr. Mabuse (1922) and F.W. Murnau’s Faust (1926) via the film noir of 1940s émigré Hollywood to a contemporary housing development in a place called ‘Faust’ near the Utah test site. The film features a commissioned soundtrack by Marcus Fjellström reflecting the anachronistic timeline of the film.

http://www.berndbehr.com

Bernd Behr "Weimar Villa"

Still from Bernd Behr, Weimar Villa (Unreconstructed), 2010, 9min 28sec, High Definition video, colour, stereo.

Chronicling part of a New Town development in China designed by Albert Speer Jr., Weimar Villa (Unreconstructed) ponders the 'ruin value' of white concrete housing shells set amidst mounds of dug-up earth that make up the new Bauhaus-themed gated community of 'Weimar Villa'. Inhabiting a perpetual moment in the cycle of construction and excavation, the video leaves the development to drift between an incomplete destination and an uncertain origin.

Supported by Arts Council England and Bloomberg Space

http://www.berndbehr.com

Koenraad Dedobbeleer + Mies van der Rohe

Retain a Sense of Proportion, 2009
Formica, wood, latex paint
Dimensions variable
Exhibition view: Boredom Won’t Starve as Long as I Feed it, Museum Haus Esters, Krefeld, 2009

From Dissent to Resistance, 2009
Steel, concrete, enamel spray paint
225 x 250 x 160 cm
Exhibition view: Boredom Won’t Starve as Long as I Feed it, Museum Haus Esters, Krefeld, 2009