Parks and Recreation filming outside Buckingham Palace
Miranda Kerr, Alessandra Ambrosio, Rosie Huntington-Whiteley, and other sources of summer inspiration. When in doubt, wear minishorts and a white t-shirt.
Hamburg native Dorothee Halbrock is an art and festival lover, two passions she combined six years back when founding Hamburg’s art camp, Kunstcamp. We visited this charming enthusiast at her cozy flat in St.Pauli, and while on location at Reiherstieg on Elbinsel, during which time we talk about living between two worlds: the very personal and the very social.
Amongst other things, Dorothee opens up about her love of Hamburg, bike riding, and being constantly surrounded by activity and feeding off the energy of others. Feeling more at home in a communal living situation than alone, she acknowledges the value in time spent alone in order to reflect and collect one’s thoughts. Ultimately Dorothee is a born collaborator and thrives on the exchange of new ideas for projects and different perspectives.
One of her first projects was the ‘Elbphilharmonie aus Schrott’ (Elb-Philharmonic of Junk) that she conceptualised alongside Daniel Richter. In this process, her improvisational skills play a huge role. She is a passionate representative of the so-called critical ‘communication of art,’ and engages her audience by opening up the possibility to actively co-create, question, and steer works in unexpected directions during the artistic process.
Are you originally from Hamburg?
No, I am from Ulm, better yet Thalfingen. It is a small village at the edge of the Swabian Alps. I have lived in Hamburg for seven years.
What brought you here?
Well, during my childhood I had family in Hamburg, but the sole thought of moving there was unimaginable – at least that’s what my father claims when he looks back. When I went on an Interrail trip I met several people from Hamburg, who later on I visited on many weekend trips. After a while, I realized that I wanted to move to Hamburg for good. So I was all the more happy when I was accepted for Cultural Science studies at Lüneberg University, just south of Hamburg. However, moving to Lüneberg was out of question. After living in the countryside I needed a big city.
By constantly going back and forth between Hamburg and Lüneberg, I met many more people from Hamburg. I developed friendships that still exist to this very day. They accompany me through all kinds of situations, professionally and privately which are always quite intertwined in my life.
So this how you fell more and more in love with the City?
Yes, totally. When I saw Hamburg city for the first time with adult eyes and went beyond the boring suburbs, I quickly fell in love with it. It is a special city; somewhere worth staying.
What do you like the most about living here?
It is funny to talk about that. I am currently in a phase where I don’t like Hamburg as much as before. However, something that I like as much as before is its village-like character. For example, walking along the streets and seeing a familiar face at every corner of St.Pauli – I really appreciate that. I love the intimate cohesion that is present within such small districts.
How do you get from place to place?
I love taking my bike. Especially during the Summer where I often ride between the side of the Elbe. The MS Dockville office and my flat are in St.Pauli and the festival area is on the Elbe island in the neighborhood of Wilhelmsburg. But obviously it is quite comfortable to take the company car as well. Nevertheless, there is almost nothing more beautiful than to take a night bike tour through the industry of the harbor and the old, illuminated Elbtunnel. At night one is able to sneak by the sleepy guards regardless of the renovations. At the moment it is strongly forbidden. However it offers a different perspective, the art of movement and thus the change of speed. I also enjoy walking.
How did you end up at MS Dockville?
Six years ago the first Dockville newsletter ended up in my email inbox and I was amazed by it right away. I really liked the fact that the festival was not solely concerned with music but also embraced other art forms. I didn’t think about it too long and proactively applied for a job there. Ironically, during that time, I had a cultural science seminar covering the topic ‘Cultural Projects in the Harbour,’ which allowed me to provide an example in practice. Everything just met so well together. Dockville thought so also and everything happened quite fast. As there was complete design freedom in regards to the area of art, I was able to take on board my friend and fellow student Laura Raber. Together we developed MS Dockville Kunstcamps (Art camps).
What was the first program like?
One of our first more prominent projects was ‘Elbphilharmonie aus Schrott’ (Elb Philharmonic of Junk). It was a project conceived by Daniel Richter and it was conceptualized by my friend since kindergarten and architect Susanna Haneder, and later built with containers and other alternative elements. Many school friends of mine took over a big part of the organization alongside my friends from Hamburg, for instance with the supervision of artists. It was a big undertaking. These facilities of before weren’t empty…
(Diese Räumlichkeiten dafor standen danach natürlich nicht leer, wie die echte Hamburger Elbphilharmonie heute immer noch, sondern wurden bespielt: mit Installationen, Musik und Performances.) — was ist hier genau gemeint… missing the context.
Today Kunstcamp is not only solely concerned with Hamburg topics but also covers a much more international spectrum.
What mostly shapes Kunstcamp?
The diverse people that contribute. Constantly new, unexpected cooperations come into existence, which release unexpected forces. Once, for instance, an employee of Roskilde Festival wanted to exchange ideas as he considered our method of actively involving the public to be very exciting. Ever since we have collaborated and worked with each other’s platforms in order to experiment with them.
One of our main projects was the collaboration with the architecture group Umschichten, and the American choreographer Jeremy Wade. The result was a series of new interdisciplinary process-oriented performative sculptures that created a discourse between architectural ritual and mass experience that emerged through diverse contexts. Everybody who was involved found this transnational exchange very fruitful.
How has the festival changed over the years?
In 2010 we started to invite artists, craftsmen, and helpers with diverse backgrounds to come to the area at Reiherstief and work and live together. For many weeks we lived together and created an artistic process which culminated with an open-air exhibition.
The camp has also become much more international, bigger, and diverse. On-site life and work are still very much connected to improvisation. Accordingly, there are always changes each year. The camp is under constant movement and is open to change. Visitors are able to experience the artworks with the artists, while also playing a role in develop the pieces further and attending parties. Everyday the MS Dockville family becomes bigger. Kunstcamp’s core is the kitchen! This is where we cook, talk, and plan. It is wonderful to see each person being treated equally and their ideas being openly and positively received. Often long-term collaborations come into existence between the participants, thus going beyond the context and parameters of MS Dockville. One cannot count all the friendships and relationships that have been established here.
How does it feel to come back to your flat in St.Pauli after weeks of improvised living?
After a MS Dockville Summer I am usually out of touch with Hamburg’s reality and need a few days to adapt. I always feel a bit like a stranger and miss the oversized Kunstcamp living community.
What do you look forward to when returning to your apartment?
It is great to have some time for myself. To be able to close the door and remove myself from the small tight bubble of camp. I do miss basic creature comforts like steady hot running water while away and really enjoy a good shower on my return. During the weeks away I live in a completely accessible and available way. Unavoidably a desire to be left alone arises after some time. However, ultimately I tend to miss this improvisational living and the big community quite quickly.
You live in a shared flat in St. Pauli.
Yes, I wouldn’t like to completely live by myself. I like getting home and having somebody there. I like it when someone has already heated the flat or has cooked, or when people have something to share. I also like coming home to my flat and noticing that my pen has been misplaced or other objects have been moved. I like this sense of fluidity, that everything surrounding me is in constant motion.
How do you calm down and relax?
Mostly I relax with people that are close to me: my friends, my godson. Also go on bike rides to find a calm place in my head.
Do you have a favorite place in Hamburg?
I love the bottom corners of former burial ground Wohlersparks. There is a very old cemetery which is small and romantic. Besides that I also like ‘non-places.’ Prefabricated houses at the periphery of the city, industrial wastelands but also the unwanted ‘dead’ of the city. I like going to these isolated often quiet places and taking pictures.
Thank you very much for giving us a snapshot into your life Dorothee and offering an explanation of your role and information about MS Dockville.
Photography: Sarah Bernhard
Internview & Text: Anika Väth
Publication: Harper’s Bazaar Australia September 2013
Models: Scarlett Johansson, Liya Kebede, Linn Arvidsson, Dakota Fanning, Lily Collins, Carmen Dell’Orefice, Ondria Hardin, China Machado, Soo Joo Park, Candice Huffine, Ashleigh Good, Xiao Wen, Erika Ervin, Grimes, Zoe Kravitz, Karen Elson, Lily Donaldson, Liberty Ross, Kenya Kinski, Gabourey Sidibe, Chiharu Okunugi, Tilda Lindstam, Lisa Verberght, Angel Haze & Chrishell Stubbs
Photographer: Karl Lagerfeld
Fashion Editor: Carine Roitfeld
Hair: Sam McKnight
Make-up: Peter Philips
"I am thankful for the difficult people in my life. They have shown me exactly who I don’t want to..."
If you are reading this, you are probably addicted to fashion magazines too, or any other kind of magazine (trends, decoration, travelling, architecture, photography, films…) Stacks of magazines accumulate in your desktop to unexpected heights, and there’s no table in your home that doesn’t have a magazine on its surface. Of course, you’ve read them all. But they are there just in case, you never know if that article about the best cafés in Helsinki, the 347 ways of wearing a Hermès scarf, or Poppy Delevngne’s beauty tips. And who’s going to dare to throw those beautiful editorials away. Tearing off the pages would be a sacrilege.
I must admit that if I used to keep all of them a few years ago, now I’ve had to get more selective, as there’s hardly space left in the bookshelves. It’s true that they look really well all lined up, specially those with a white spine, but there comes a time when you need to do something about them.
As you’re probably looking for a solution to store the hundreds of magazines you have (you’ve maybe wondered about those places where they pay you for X tons of paper), here you have some ideas of how to keep and organize your magazines. In bookshelves, magazine racks, walls, tables, boxes… There are two different kinds of magazines: those magazines that you bought that week or a month ago and that you still re-read. In that case, there can be at the magazine rack or on the table. Those are the tip of the iceberg. The other 80% are old magazines that you’ll probably never open again, but that you may need some day. You can keep those in less accessible places. The ones with beautiful covers can be kept in a coffee table, or decorating a bookshelf in front of the books.
How many magazines do you think you have? Do you keep all of them or just a few selected ones? I keep all the issues of Vogue Spain, Harper’s Bazaar Spain, Elle UK, Monocle, Vanity Fair Spain and US (most of the issues), and any other international issue of Vogue I’ve decided to buy. Also, I keep special issues from Elle Spain, Marie Claire Spain, Glamour, Grazia… And issues that I bought of Lula, Mixte, Numéro, Self Service, V, Dazed & Confused, Nylon, Vanidad, Love, and Pop.
Stanley Kubrick with his sister Barbara.
ai o meu canário...
devendra, i love you beyond everything.
After bringing home some lavender from our day trip to Sequim, the lavender capital of America, Twiggy demanded a floral crown be made in her honor. Can you tell she is basking in her power and glory?
But, after crowns are made and fun is had you can either set out your lavender in a vase without water, so that it doesn’t mold, or dry it. To dry, make sure to wrap your lavender in a rubber band as it will get smaller as it dries. Keep this drying bundle hanging upside down in a cool, dry place without direct sunlight. After drying for a few weeks (depending on location and temperature) your dried lavender will be ready to use. In the past, I have made little lavender sachets to keep around the house, in our clothing drawers and near our bed. Check out the how-to here!
É dizer isto 10 vezes...
Ad Campaign: Iro Fall/Winter 2013-2014
Model: Karlie Kloss
Photographer: Claudia Knoepfel & Stefan Indlekofer
Pedro Almodovar, Zachary Quinto, Frank Ocean, Riccardo Tisci and Rooney Mara
Kate Kondas by Zoltan Tombor