4.29 - 5.5 Club Berlin Exhibition

CLUB BERLIN

an exhibition on electronic music and photography

柏林俱乐部

电子音乐文化与摄影展

CLUB BERLIN brings the impulses of Berlin techno to Chengdu.

Presented to engage both sight and sound, CLUB BERLIN features photographic works of Berlin’s 90s club scene by Martin Eberle. Together with music arranged by Berlin house and techno djs and footages from the Boiler Room.

 Club Berlin 多媒体展览带着柏林Techno能量来到成都，这次展览包含了：视觉，声音与影像作品。我们将呈现由Martin Eberle拍摄的90年代柏林俱乐部的真实场景、Boiler Room 现场视频以及来自柏林的House和Techno DJ的音乐作品。

Curated by Heiko Hoffmann

策展人：Heiko Hoffmann

Heiko Hoffmann

is a German journalist, curator, lecturer and consultant. He's been editor-in-chief of Groove magazine, an industry-leading electronic music magazine, for the past 17 years. He’s also written for international publications such as Pitchfork, Spin and Sound & Recording (Japan) and hosted his own show Nightflight on German public radio station Fritz. Heiko has been a key-note speaker and panelist at festivals such as Sonar, MIDEM, ATP and ADE. He's a member of the board of advisers at Goethe institute and jury member of a number of international artist programs.

Heiko Hoffmann 是德国记者，策展人，讲师和顾问。他已经做了Groove 杂志,行业领先的电子音乐杂志,的主编辑17年。他还写了国际刊物，如Pitchfork，Spin和Sound＆Recording（日本），并在德国公共广播电台弗里茨主办了自己的节目Nightflight。Heiko是Sonar，MIDEM，ATP和ADE等节日的主要演讲者和小组成员。他是歌德学院顾问委员会成员，还有一些国际艺术家计划的陪审团成员。

Berlin's club culture

Techno was the youth culture that united East and West in Berlin after the fall of communism in East Germany. After the Berlin Wall fell in 1989, unused plots of land and buildings were ready to be filled with new life by clubs, bars, galleries, workshops and studios. "All of a sudden, everyone was able to program their own world. With its DJing, producing, launching magazines and printing T-shirts, Techno was a kind of music that invited people to take part, a sound of flat hierarchies," as Felix Denk and Sven von Thülen write in their book The Sound of Family – Berlin, Techno and the Reunification. Berlin became the epicenter of a new club culture which attracted international attention – first with clubs like the Tresor and the E-Werk, and later with the Love Parade.

Techno是一个东德共产主义垮台后，融合东德和西德的青年文化产物。在1989年柏林墙落成后，未利用的土地和建筑已经准备好被俱乐部，酒吧，画廊，车间和工作室替代、充盈并重组了人们全新的生活方式。“突然之间，每个人都能够编程自己的世界，通过DJ，制作，发行杂志和印刷T恤等等方式，Techno是一种邀请人们参与的音乐，用一种平等层次的声音来对话。”「 引用Felix Denk 和 Sven von Thülen 的书 The Sound of Family – Berlin, Techno and the Reunification. （家庭的声音，柏林 Techno 和统一）」

柏林成为一个引起国际关注的新俱乐部文化的中心，最先诞生的俱乐部有：Tresor和E-Werk，随后还出现了Love Parade (鼎鼎有名的柏林街上派对)。

The club scene was given another boost at the beginning of the last decade. Thousands of Techno tourists were attracted into the city every weekend by cut-price European flights, a new wave of clubs like Bar 25, Watergate and the Berghain – and parties that never seemed to end. Artists, label operators, party organizers and promoters from all over the world moved to Berlin, constantly contributing new ideas for the city's sound – a development that continues to this day.

俱乐部场景在开始的十年里得到了迅速提振。每个周末，成千上万的Techno游客买了特价机票涌入柏林，新一轮的俱乐部开始诞生，如25号酒吧，Watergate和Berghain等，这些派对似乎永远不会停止。 来自世界各地的艺术家，厂牌运营者，派对组织者和推动者纷纷前往柏林，不断为柏林的声音贡献新的想法 ， 这一发展一直持续到今天。

Martin Eberle – Temporary Spaces

摄影师 Martin Eberle – 临时空间

Photographer Martin Eberle, born in 1966 in Augsburg, moved to Berlin in 1992. He joined the team running the Galerie Berlintokyo venue and was soon using his camera to document the city's improvised clubs and well-hidden cellar bars. The photographs in the exhibition come from Eberle's book Temporary Spaces (published by Die Gestalten Verlag, Berlin 2001) and show examples of the nomadic club culture between 1996 and 2001.

摄影师Martin Eberle，1966年生于奥格斯堡，1992年搬到柏林。他加入了运行Berlintokyo艺术画廊的团队，并很快用他的相机记录了城市的临时俱乐部和地下酒吧。展览中的照片来自Eberle的“临时空间”（由Die Gestalten Verlag，2001年出版），展示了1996年至2001年间游牧俱乐部文化的例子。

Before professional, permanent, purpose-designed clubs like the Berghain or Watergate made such a big impression with integrated sound-and-lighting concepts and established Berlin's present-day reputation as a club metropolis, these venues exerted a huge influence on the reunited Berlin's image and made the city a magnet for DJs, musicians and other artists. There were new spaces for new music. Yet Eberle's photographs make a strangely alien impression on the people who were there at the time.

像Berghain或Watergate这样的俱乐部，是专业，稳定，并通过精心设计的，是完善的声音灯光系统的综合体，他们确立了柏林作为俱乐部大都会的当前声誉，这些场地对柏林的大众形象产生了巨大的影响 并使这个城市成为了吸引DJ，音乐人和其他艺术家的磁铁。这些都是新的空间和新的音乐。然而，Eberle的照片所诠释的角度和大众的印象是完全相异的。

The photographs of the interiors – some brightly lit, some dipped in colored twilight – show no partying people, no DJs or bar staff. "The venues seem so destitute and forsaken, completely robbed of their function, which is to create physical proximity, to generate a social framework for exhilaration," says Richard Kämmerling in a review for the FAZ newspaper. And yet it is precisely the emptiness of the rooms, especially seen in retrospect, that reveals their individuality. The clubs of the time took over empty and run-down workshops, banks, shops and power stations in East Berlin and redesigned them for their own purposes. Most of them were unrecognizable as clubs from the outside and by daylight. The decor was improvised. Decorating tables served as DJ consoles, light bulbs were covered with white underwear, the seats came from old GDR cafés.

所展示的照片 - 一些明亮的，浸在彩色的黄昏 ，没有显示任何派对的人，没有DJ或酒吧的工作人员。理查德·考默林（RichardKämmerling）在FAZ报刊的评论中说：“这些场地似乎如此贫穷和被遗弃，完全被剥夺了功能，这就是为了创造物理上的接近程度，创造出一个令人振奋的社会框架“。然而，恰恰是房间的空虚，特别是回想起来，揭示了他们的个性。当时的俱乐部在东柏林接管了空虚和倒塌的研讨会，银行，商店和发电站，并重新设计了自己的目的。他们中的大多数是无法识别的，因为来自外界和日光的俱乐部。 装饰是即兴的。装饰桌作为DJ控制台，灯泡上覆盖着白色的内衣，座椅来自旧的GDR咖啡馆。这些俱乐部和酒吧中的一些，像Monbijou大街上的103号，持续了不到一年，但他们永远刻在一代人的回忆中。

Some of these clubs and bars – like the 103 on Monbijoustrasse – lasted for less than a year, yet they became permanently etched on the memories of a whole generation. They were planned from the outset as a temporary use for buildings with unresolved ownership issues. Of the clubs shown today in the exhibition, only the E-Werk – Berlin's most spectacular club in the 1990s – is still used as a party venue; it can also be rented as a location for corporate events.

这些俱乐部和酒吧中的一些，像103 在 Monbijoustrasse，持续了不到一年，但他们永远刻在一代人的回忆中。他们从一开始就计划作为对未解决的所有权问题的建筑物的临时用途。在今天展出的俱乐部中，只有上世纪90年代柏林E-Werk - 柏林最壮观的俱乐部还在，它还能作为派对场地和也作为公司活动的地点出租。

The premises of Galerie Berlintokyo and the Sniper have long-since become part of the popular Hackesche Höfe tourist location; the Maria club and concert venue has been demolished, as has the old Tresor (the club itself has moved to a former power station in the borough of Mitte); and one of the city's biggest shopping centers now stands where international Techno acts like Underground Resistance or Aphex Twin once staged their first gigs in Berlin. Martin Eberle's photographs document the venues of Berlin's short-lived 90s club culture – places without which the city's current party scene would be inconceivable.

Galerie Berlintokyo和Sniper早已成为最受欢迎的HackescheHöfe旅游景点的一部分; Maria俱乐部和音乐会场地已经被拆除，老Tresor也被拆了，（现在的Tresor已经搬到了Mitte区的旧电站所在地）; 而现在这座城市最大的一个购物中心也作为Techno的演出场地，像Underground Resistance和Aphex Twin，就在这里举办了他们在柏林的第一场演出。Martin Eberle的照片记录了柏林短暂的90年代俱乐部文化的场所，没有这些地方的柏林，如今的派对场景是不可想象的。

Boiler Room and DJ scene

Boiler Room parties have been taking place in Berlin since 2011. Invented in London, Boiler Room is a series of parties in which DJs and live acts play to a relatively small audience, but reach a global audience via a live internet stream. Up until early 2015, the Berlin Boiler Room was held literally in the basement boiler room of the Stattbad Wedding. The club has been closed in the meantime and the Boiler Room is celebrated at different venues in the city.

自2011年以来，柏林的Boiler Room一直在举办。Boiler Room是在伦敦发起的，它是系列的小型DJ和LIVE现场，但通过实时互联传播给全球的观众。2015年初，柏林Boiler Room就真的在Stattbad Wedding的地下室锅炉房里举办，之后Boiler Room不再有固定的场地，而是去到不同的城市，不同场地。

The parties themselves are for invited guests only – largely friends and fans of the participating DJs – and free of charge. They take place at weekdays starting at 8 p.m. and have little in common with the exuberance and uncontrollability for which Berlin's nightlife is famous. Where photography is otherwise banned, the audience here pose for the web cameras. The DJs play with their backs to the dancers so that they can be better seen; their sets rarely last longer than an hour, and the party is often already over at midnight. Nevertheless, the Boiler Room parties have quickly developed into an important part of the Berlin club culture.

派对本身是邀请制的 – 大部分是DJ的朋友和粉丝 – 也不收取费用。Boiler room 派对不是在周末，是在平时的晚上8点开始，与柏林的夜生活著称的繁荣和不可控制性几乎没有共同之处。观众不准备在现场拍照的，所以他们只能对着网络直播的摄影机抢镜。DJ们演出的时候会被背后跳舞的观众所包围， 所以他们都会被拍的很清楚，他们每个人演出的音乐很少持续时间超过一个小时，派对通常在午夜结束。然而，Boiler Room 派对已经迅速发展成为柏林俱乐部文化的重要组成部分。

This has less to do with the local parties than with the popularity of the advertising-funded live streams. Tens of thousands of participants all over the world follow the parties and discuss them in chat rooms or on Twitter. The archived podcasts of the parties on YouTube sometimes reach an audience of over a million; they have made Boiler Room one of the most important institutions of electronic club music.

现在根本无法控制有着商业赞助的网络传播。世界各地的成千上万的参与者都在观看Boiler Room的派对，并在聊天室或者Twitter上疯狂讨论。YouTube上的存档，有时浏览量达到百万以上，是他们使Boiler Room成为电子音乐俱乐部文化中最重要的机构之一。

The DJs themselves, who don't get paid for the parties, reach a lot more people with a Boiler Room party than with any festival appearance. They also get direct feedback about their sets, and sometimes attract the attention of international club bookers for the first time in this way. Boiler Room has long since established itself as a place where DJs present their new creations. International artists often also play at Berlin's Boiler Room parties, although the events are essentially a showcase for local DJs, live acts and labels.

参加Boiler Room 的DJ们是免费参与演出的，但是却比他们参加任何音乐节演出得到更多的关注。同时，他们也获得对他们音乐的直接反馈，有时也能以这种方式首次吸引到国际俱乐部预订演出者的注意。Boiler Room早已建立起自己作为DJ发表新作品的地方，各国的艺术家也经常在柏林的Boiler Room派对上演出，虽然这些活动本质上是针对本地DJ，Live演出和厂牌的。

The recordings of the Boiler Room sets that can be seen at the Zeitgeist exhibition range from Watergate resident La Fleur to Berghain's regular DJ Len Faki; from Discodromo, operators of the gay party series "Cocktail d'Amore," to footwork and bass DJ Sarah Farina; from House DJ Mano Le Tough from Ireland to the Berlin-based Italian Techno producer Lucy.

在Zeitgeist展览中可以欣赏到的Boiler Room sets的录音作品从Watergate resident La Fleur 到 Berghain's DJ Len Faki; 从Discodromo, 同性恋系列派对组织者 "Cocktail d'Amore," 到 Footwork 和 Bass DJ Sarah Farina; 从来自爱尔兰的House DJ Mano Le Tough 到 来自意大利但居住在柏林的 Techno 制作人 Lucy.

Today, the DJ scene in Berlin is more diverse and more international than ever. New producers and DJs are still constantly coming to Berlin to live in the city for at least a few months. They ensure that the sound in the clubs is constantly developing – even if House and Techno remain the styles that dominate the city's nightlife.

今天，柏林的DJ场景比以往任何时候都更加多元化和国际化。一些新的制作人和DJ仍然不断来到柏林，而且至少会住在这里一段时间。是他们确保了俱乐部的声音在不断的发展 - 即使House和Techno仍然支配着这个城市夜生活的风格。

Mixes from seven Berlin-based DJs can be heard continuously at the Zeitgeist exhibition and, together with the Boiler Room videos, give an acoustic impression of Berlin's current club culture. Among the music that can be heard are mixes of established acts – like Modeselektor from Brandenburg or the duo Tale Of Us, who have only been living in Berlin for a few years but have quickly become one of the internationally most sought-after House DJs – as well as relative newcomers like Answer Code Request, who publishes for Berghain's own label Ostgut Ton, or David August, who produces for labels like Innervisions and Diynamic.

我们可以在Zeitgeist展览中连续听到7个柏林DJ的混音，并与Boiler Room视频一起呈现柏林当前俱乐部文化的声音印象。可以听到的音乐是已经发表的作品，例如来自勃兰登堡的Modeselektor或Tale of us 二人组合，他们只住在柏林几年，但很快成为国际上最受欢迎的House DJ之一, 以及全新的Answer Code Request, 同时也是Berghain自己的标签Ostgut Ton的出版商，或者David August labels Innervisions 和 Diynamic 的制作人。

Club music has long-since become accepted by mainstream society – both in Berlin and in many other places of the world. But even if Berlin musicians such as Paul Kalkbrenner have long been working in the mainstream, and the city successfully uses its club culture for image marketing, there are still enough musicians doing new things and exploring niches.

俱乐部音乐早已被主流社会所接受，无论是在柏林还是在世界上的其他地方。但即使像犹如保罗·克尔克布伦纳（Paul Kalkbrenner）这样的柏林音乐人一直在主流音乐圈工作，即使柏林也一直用俱乐部文化作用于城市营销，但是，这里仍然有足够的音乐人持续在创造和探索新的可能。

Text: Heiko Hoffmann

1. 

   赵乙睿
   ¥0.00
2. 

   匿名
   ¥0.00
3. 

   何佩玲
   ¥0.00
4. 

   匿名
   ¥0.00
5. 

   xin
   ¥0.00
6. 

   xin
   ¥0.00
7. 

   Piper
   ¥0.00
8. 

   Piper
   ¥0.00
9. 

   匿名
   ¥0.00
10. 

    匿名
    ¥0.00
11. 

    匿名
    ¥0.00
12. 

    匿名
    ¥0.00
13. 

    匿名
    ¥0.00
14. 

    啤啤噜
    ¥0.00
15. 

    匿名
    ¥0.00
16. 

    匿名
    ¥0.00
17. 

    匿名
    ¥0.00
18. 

    马郭梁
    ¥0.00
19. 

    马郭梁
    ¥0.00
20. 

    faye
    ¥0.00
21. 

    黄Milk
    ¥0.00
22. 

    匿名
    ¥0.00
23. 

    匿名
    ¥0.00
24. 

    匿名
    ¥0.00