GLASPALÄSTE and World Exposition

An interactive spatial structure between art and science

19 Mai — 10 Sep 17

The mobile space structure of twelve glass cubes* will take shape on the square between the Neues Rathaus (New Town Hall) and the Exerzierhalle (former drill hall) in Wittenberg. With their ephemeral form, the glass palaces interrupt the unpredictable situation of the urban space, in order to interactively offer questions on globalisation.

Since the first world exhibition, which took place in the glass palace in London in 1851, the pavilions of world exhibitions have presented technical, scientific and economic achievements of individual nations. This is about primacy, power and prestige. With the glass palaces in Wittenberg, each cube is in relation with a certain place in the world, but without wanting to occupy a dominant position. Here, the pavilions are formed into interaction platforms and transcultural displays between the invited scientists and artists, who engage in a dialogue with various places in the world and with visitors on site.

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Opening times / location
19 & 20 May 11.00 - 18.00
21 May - 22 June Wed - Sun 14.30 - 17.30
23 June - 6 August Wed, Thu 14.30 - 17.30
Fr, Sa 12.00 - 18.00
Sun 12.00 -17.00
19 & 20 August 12.00 -18.00

The square between the Neues Rathaus and the Exerzierhalle. Lutherstraße 56, 06886 Lutherstadt Wittenberg

glass cubes become GLASPALÄSTE

Through the development of the central question from GLASPALÄSTE, ‘Why are there borders?’ the international guests will gradually build glass palaces from the empty glass cubes, and in doing so interact with the visitors from Wittenberg. They will develop certain artistic and scientific concepts in such a way that the cube design will be led by the artistic principle of:

'bringing together and seeing that which one would not normally expect to be seen together.'

The glass palaces will become a interactive spatial structures between art and science. Depending on the action, the glass palaces will change their location, sometimes leaving the exhibition site and travelling to different parts of the city and out to the city limits.

* The prototype of the glass cubes comes from the artistic work structure SYNTOPIAN VAGABOND by Michaela Rotsch

Reformation, Globalisation, Formation

The glass palaces are formed in reference to the reformation and globalisation. In terms of the question Why are there borders? GLASPALÄSTE concentrates on the following three areas:

  1. Book Printing and Media: This is about information channels, as well as making knowledge visible. Which knowledge? Where is media limitation? Is there a limitless access to knowledge and a hierarchical exchange of knowledge?
  2. The posting of the 95 theses: Here the 96th thesis is negotiated. What are the limits of (self)criticism and what can the criticisism of globalization achieve?
  3. The sale of indulgences? Religion and economics are interdependent. Have religious structures today simply taken on a different form? Does a kind of modern sale of indulgences take place, and is there still a form of hidden colonialism?

The project was developed by the fine artist Michaela Rotsch and the sociologist Irmtraud Voglmayr under participation of students of the University of Vienna´s Institute of Sociology.


Michaela Rotsch

Bildende Künstlerin, transdisziplinäre und -kulturelle Forschung mit arabesken Organisationsstrukturen und syntopischen Werkstrukturen.

* Der Prototyp der Glaskuben stammt aus der künstlerischen Werkstruktur SYNTOPIAN VAGABOND, die hier mit dem transkulturellen Projektansatz von GLASPALÄSTE durch die gemeinsame Rahmenstruktur der Glaskuben verbunden wird. Dadurch wird die Grenze zwischen Bildender Kunst und anderen kulturellen Bereichen ausgelotet.

Michaela Rotsch

Fine artist, transdisciplinary and transcultural research with arabesque organisational structures and syntopic work structures.

* The prototype of the glass cubes comes from the artistic work structure SYNTOPIAN VAGABOND, which is linked here to the transcultural approach of GLASPALÄSTE through the common structure of the glass cubes. Thus the boundary between contemporary art and other cultural areas is explored.

Irmtraud Voglmayr

Soziologin und Medienwissenschaftlerin, Schwerpunkte in Forschung und Lehre: Stadt- und Raumforschung, Medien, Gender und Klasse.

Irmtraud Voglmayr

Sociologist and media theorist, focussing on research and teaching: city and urban planning, media, gender and class.

Juliane Zellner

Juliane Zellner studierte Theaterwissenschaft (M.A.) in München, Urban Studies (MSc.) in London und promoviert derzeit an der Hafencity Universität im Fachbereich Kultur der Metropolen.

Juliane Zellner

Juliane Zellner holds a degree in Theatre Studies (M.A.) from LMU Munich and a degree in Urban Studies (MSc) from UCL London.

Currently she is a PhD Candidate in the Department of Metropolitan Culture at the HCU Hamburg.