ISSUE [0724] | UdK
| Berlin | 2024
ISSUE [0924] | Lothar Wolleh Raum | Berlin | 2024
ISSUE [1024] | JohnenPrivat | Berlin | 2024
A magazine with an annual subscription. A payment and thus a promise for content that doesn't yet exist. The issues yet to be published are already assumed. Providing a contemporary overview. What's hot right now? Who are the players? This current moment is changing, being overwritten. And requires replacement with new content. The magazine's graphic grid remains, and the cover template is merely replaced in terms of content. A new photo, a new name, the issue one step further. It's a production machine.
Once the preparatory work has been completed, this logic can continue to wander freely, settling within the tested form. I'm interested in what leads to the final version before what is visible, and how these prototypes and steps lose their function and become irrelevant at the moment of completion. They remain in storage, too valuable to be discarded, but they represent dead material. Retired, waiting in storage for a possible overview exhibition or publication in which they could be honored one last time as an important part of the development.
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Jonathan Joosten ISSUE [0724]
| Berlin | 2024Jonathan Joosten ISSUE [0724]
| Berlin | 2024
Jonathan joosten ISSUE [1024] | Berlin | 2024Jonathan Joosten ISSUE [1024] | Berlin | 2024Jonathan joosten ISSUE [0924] | Berlin | 2024 Jonathan Joosten ISSUE [0924] | Berlin | 2024Buck up - never say die. We’ll get along !
GloguaAir |
Berlin | 2025
In collaboration with Moksha Richards
Surrounded by paralysed witnesses with a clearly defined task. Charged with emotional value, part of our individual worlds.
Utilitarian forms made to serve. Decades in the same framework. Still functional, still standing. Cycles of consumption and industry. Memories of cracked shells, of stains and colour streaks from a previous pulped life. Recycled, reshaped, and marked by their pasts.
Demanded material accumulates presence, builds a character. The objects anthropomorphize into figures who have lived through repetition and rhythm. Carriers of evidence of what has passed through them, came, stayed, and left.
We were inspired by Charlie Chaplin’s Modern Times. The Tramp, reduced to a functional part of the machine, mirrors these objects. Designed for use, bent to utility. And yet he resists. He clowns, he dances, he escapes. In these systems of enforced rhythms, he remains alive. The Tramp and his companion are the only joyful spirits in a world of automata. They live by their wits, their humour, their movement.
The final card of Modern Times reads: “Buck up - never say die. We’ll get along !” A trace remains. A future stirs.
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Jonathan Joosten
Buck up - never say die. We’ll get along !
Jonathan Joosten & Moksha Richards
Buck up - never say die. We’ll get along !
AH 01 | UdK, KUNSTRAUM Potsdamer Straße
| Berlin | 2023, 2024
AH 02 | KUNSTRAUM Potsdamer Straße
| Berlin | 2024
AH 04.1 - 04.2 | Emotionpowerhouse | Berlin | 2025
AH 04.3 | Salon am Moritzplatz | Berlin | 2025
A toy representing a character is just an imprint shaped by play, a labelled character. They don't want to leave, talking about their glorious times,in which they were once at the top. Icons in films, advertising, stories idealised, glorified and commercialised.
These figures, torn from history, have become myths unable to die due to their mass medialisation, part of our popular culture. But slowly they escape into the wall. They can no longer follow the contemporary, which is not their own, they fall out, become alienated and isolated and lose their once shining status as changing times and new values shift their context.
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Jonathan joosten ARCHIVED HERO 02 | Berlin | 2024Jonathan joosten ARCHIVED HERO 02 | Berlin | 2024Jonathan joosten ARCHIVED HERO 01 | Berlin | 2023
RE:VISION - SF [32/83] | Galerie Met
| Berlin | 2024
RE:VISION - CR [67/06] | JohnenPrivat
| Berlin | 2024
Stories are never fixed; they shift with time, reframed by new contexts and cultural sensibilities. A remake is not a mere repetition but a reinterpretation. An act of translation that transforms a narrative through its setting, language, and aesthetics. The same story, told again, becomes a reflection of its era, shaped by the values and desires of the present.
Locations reorient meaning, language alters rhythm, fashion and design embed it in the new present. Each retelling is a negotiation, showing that what endures is not the story itself but the act of revisiting it.
Recognition is a pleasure, it's not jumping in at the deep end, but a docking. Why did Disney buy Lucasfilm, the company behind Star Wars, for 4.05 billion US dollars in 2012? Not out of enthusiasm and fandom, but because it saw potential in the already familiar world that George Lucas had built. A basis for numerous spin-offs and sequels. From the perspective of a hoped-for positive reception, or even just the hope of arousing interest in consuming the newly produced product, it is of course also a certainty.
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Jonathan joosten RE:VISION - SF [32/83]
| Berlin | 2024Jonathan joosten RE:VISION - SF [32/83]
| Berlin | 2024Jonathan Joosten RE:VISION - CR [67/06] | Berlin | 2024
JohnenPrivat, supported by Max Goelitz |
Berlin | 2024
In collaboration with Daniel Hölzl
Lines resurrect the silhouette of a window
hidden behind the plaster wall. Through
repetition with a chalk line, a proposal is
made to turn back time and reestablish
what once was. Brick borrowed from the
original facade ground to dust.
The site specific work functions as a portal,
activated by the residue of lived material.
The faint remnants are a mention of
potentiality and to the fragility of
architecture, to the return to nothing. The window outlived its
original purpose, now obsolete, it
renegotiates the boundaries of utility.
Simultaneously the contradictory dialog
only enables itself trough the current
staging of space.
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Jonathan joosten & Daniel Hölz CUTFISHING FOR A VIEW |
Berlin | 2024Jonathan joosten & Daniel Hölz CUTFISHING FOR A VIEW |
Berlin | 2024Jonathan joosten & Daniel Hölz CUTFISHING FOR A VIEW |
Berlin | 2024