The 1. OG used to be four rooms, each with a ten-second reverberation. On that level, the Kino was born out of the necessity to communicate. And out of the different communication channels artists require. So in 2016, a ‘black box’ was dropped into a ‘white cube’, which hinged on the slippery line between ‘Art’ and ‘Cinema’, to further melt disciplinary borders and provide additional conditions. What forms of viewing, thinking, listening, conversing, and understanding could this acoustically-dead, sofa-laden, economically-efficient room offer a contemporary art institution?
Over the past two years, the Kino has hosted a consistent procession of film and video screenings, artist talks, annual member meetings, video lectures, listening sessions, a discursive auction, performance, including a virtual performance within a multiplayer computer game, a solo exhibition, and even a series of interventions by students at the Akademie für Bildende Künste München.
By now, it’s a permanent fixture, and its potential is by no means exhausted. We’ll use it for exhibitions in 2018, and for events, including a 24-hour screening of a film quadrilogy by Jovana Reisinger, but this year we’ll keep its specific use more open-ended, less defined, and just lay back and see what forms it accommodates, necessitates, or eviscerates.