Tobias Kaspar: Dress Code: Black

Vortrag
Tobias Kaspar: Dress Code Black
Donnerstag, 15. Dezember 2016, 19 Uhr, Aula

Tobias Kaspar (1984) lives in Riga, Latvia. In 2012 he founded his eponymous jeans line, he is co-founder of PROVENCE, an eight-issue magazine. In 2015, Tobias Kaspar opened Toby’s Tristram Shandy Shop in Berlin (at Udolpho). His artworks are often conceived as larger bodies of works and bare titles such as Lumpy Blue Sweater (2010), Bodies in the Backdrop (2012), The Bling Ring (2013), Friends, Lovers & Financiers (2014), Two Cities - Two Lives (2015) and The Street (2016)

His work has been shown in institutions and museums, including the Museum of Modern Art in Warsaw (2016), Wattis Institute for Contemporary Art, San Francisco (2015), Solo Shows, São Paulo (2015), CAFAM Biennale, Beijing (2014), Kunsthalle Wien (2014), Kunsthalle St. Gallen (2014), Midway Contemporary Art, Minneapolis (2013), Artists Space, New York (2013), Palais de Tokyo, Paris (2012), Kunsthalle Zürich (2011), Kunsthalle Basel (2011), Museum Hamburger Bahnhof, Berlin (2011), Kunsthaus Bregenz (2011), Künstlerhaus Stuttgart (2010).

Der Vortrag findet in englischer Sprache statt.





After facts – Pudding Explosion rearticulated


Ausstellungseröffnung Curatorial Studies
After facts — Pudding Explosion rearticulated
Thomas Baldischwyler, Thomas Bayrle, Max Eulitz, Zac Langdon-Pole, Anna McCarthy, Luzie Meyer, Jennifer Lyn Morone Inc., Peter Roehr, Alex Turgeon, Jasmin Werner
Donnerstag, 8 Dezember 2016, 19 Uhr, Mendelssohnstraße 56, 60325 Frankfurt am Main

Where is the line between opinion and fact? When does an object become information? And when in this process does it transform into a fetish? What is the validity of these divisions in the light of social media and algorithmically generated purchase recommendations? Using the dispositions of an exhibition, “After facts” would like to pursue and complexify these questions and at the same time show alternative forms of knowledge production and commodity culture.

The impetus of the exhibition is the headshop “Pudding Explosion”, which was initiated in 1968 by the conceptual artist Peter Roehr (1944–68) together with his future gallerist Paul Maenz in the heart of Frankfurt. The assortment of goods ranged from pop culture ephemera, such as music and band buttons, to international newspapers and Maoist manifestos, providing youth and counterculture with identity affirming/producing objects, information and opinions. Against a backdrop of virtual distribution mechanisms and information excess, where accessibility is privileged over navigation, “After facts” attempts to update the function of subcultural activity that Pudding Explosion embodied in the early months of 1968.

A project initiated by the Master program Curatorial Studies, the exhibition materializes as a display of ten positions of international artists in a former pharmacy in Frankfurt Westend. Their work, among them five new productions, approach the mechanisms of information and merchandise exchange in the digital and post-factual age from different angles.

Der Studiengang Curatorial Studies wird unterstützt durch die DZ Bank Stiftung, die Adolf Messer Stiftung und die Alfons und Gertrud Kassel-Stiftung.

„After facts — Pudding Explosion rearticulated“ wird ermöglicht durch die Dr. Marschner Stiftung und die Aventis Foundation. Mit freundlicher Unterstützung des MMK Museum für Moderne Kunst Frankfurt am Main.

9.12.2016  - 18.12.2016
Montag - Sonntag, 14 - 19 Uhr
Eintritt frei

Willem de Rooij & Philippe Pirotte

MMK Talks
Willem de Rooij & Philippe Pirotte
Mittwoch, 7. Dezember 2016, 19 Uhr, MMK 2
On the occasion of the current exhibition 'Willem de Rooij. Entitled', the rector of the Städelschule and director of Portikus Philippe Pirotte and Willem de Rooij will talk about the artist's work and exhibition at MMK 2. Additionally, the accompanying catalogue – containing three volumes – will be presented. 

Willem de Rooij, *1969 in Beverwijk, Netherlands is one of the most influential artists of his generation. He studied at Gerrit Rietveld Academie and the Rijksakademie in Amsterdam. Since 2006 the artist has been professor of fine arts at the Städelschule.

Philippe Pirotte, *1972 in Antwerp, Belgium is an art historian and curator. He is the rector of Städelschule and director of the Portikus in Frankfurt am Main. He is a freelance Senior Curator at UC Berkeley Art Museum and Pacific Film Archive. Pirotte was the curator of the 2016 La Biennale de Montréal: Le Grand Balcon.

Eintritt frei.

Der Vortrag findet in englischer Sprache statt.

Rachel Haidu: A Melancholic Autocracy: On the Paradoxes of Skill in Marcel Broodthaers' Museum Fictions

Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik

Rachel Haidu: A Melancholic Autocracy: On the Paradoxes of Skill in Marcel Broodthaers' Museum Fictions
Mittwoch, 14. Dezember 2016, 19 Uhr, Aula

Marcel Broodthaers is perhaps best known for having declared a museum, along the same lines through which Marcel Duchamp declared his readymades art. But whereas Duchamp’s paradigm seems to have limited its radical implications to the realm of art, Broodthaers’s museum created a self-consuming bureaucracy that in turn re-framed the relation between politics, activism, and melancholic authorship. It is within that highly topical framework that Rachel Haidu will address the questions of “reskilling” as a performative practice.

Rachel Haidu is Associate Professor in the Department of Art and Art History and Director of the Graduate Program in Visual and Cultural Studies at the University of Rochester. She is the author of The Absence of Work: Marcel Broodthaers 1964-1976 (MIT Press/October Books, 2010) and numerous essays, most recently on the works of Ulrike Müller, Andrzej Wróblewski, Yvonne Rainer, Sharon Hayes, James Coleman, Gerhard Richter, and Sol LeWitt. Her current book manuscript, tentatively entitled The Shame of the Self, examines notions of selfhood that develop in contemporary artist’s films and video, dance, and painting.

Der Vortrag findet in englischer Sprache statt. 

Program:

Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)

Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?

It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?

Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean

Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik

Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 13. Dezember 2016, 19 Uhr, Aula

How do artists confront the acceleration, immaterialization and constant connectedness of our global network society? How do new technologies affect models of subjectivity and of artistic skills?
The paper, that Julia Gelshorn will present, discusses two case studies related to the artists Renée Green and Tacita Dean who make use of digression, deceleration, location, and materialization in order to create the experience of space and duration. What is the relation between stories and history, what role does the location play in contrast to the idea of global flow? In the work of Green and Dean, the biographic narration of networked selves becomes an exemplary microcosm as part of a large continuum of contingencies and analogies. The network as the paradigm of our contemporary world is thereby aesthetically and ideologically revaluated and filled with “life”.

Julia Gelshorn (1974, Aachen) studied art history, theater, film and media, as well as Italian language and literature in Cologne and in Bern. In 2003 she recieved her PHD with a dissertation on "Appropiating Art History. Strategies of Repetition in the work of Gerhard Richter and Sigmar Polke". After teaching and research stints at universities in Zurich, Paris, Karlsruhe, Vienna and Hamburg, she has since 2013 been professor of art history at the University of Fribourg (CH).

Der Vortrag findet in englischer Sprache statt.

Program:

Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)

Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?

It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?

Keren Cytter: Recent works and more

Vortrag
Keren Cytter: Recent works and more
Dienstag, 6. Dezember 2016, 19 Uhr, Aula

The lecture will include screening of three videos and focus on the artist’s use of exhibition space and ideas regarding production and distribution of her work, which include videos, drawings and text.

Keren Cytter *1977 in Tel Aviv, Israel is currently based in between New York and Berlin. Cytter creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterised by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production.

Der Vortrag findet in englischer Sprache statt.

Jochen Volz: INCERTEZA VIVA (Live Uncertainty) - on the 32nd Bienal de São Paulo

Vortrag Curatorial Studies
Jochen Volz: INCERTEZA VIVA (Live Uncertainty) - on the 32nd Bienal de São Paulo
Dienstag, 22. November 2016, 19 Uhr, Aula

Jochen Volz will present the project for the 32nd Bienal de São Paulo, entitled INCERTEZA VIVA (Live Uncertainty), seeking to reflect on the possibilities offered by contemporary art to harbour and inhabit uncertainties. He will talk about the development of the exhibition in relation to issues that surround and guide contemporary artistic production. Cosmological thoughts, environmental and collective intelligence, natural and systemic ecologies are some of the starting points.

Volz is the curator of the 32nd Bienal de São Paulo. He served as Head of Programmes at the Serpentine Galleries in London; Artistic Director at Instituto Inhotim; and curator at Portikus in Frankfurt. He was co-curator of the international exhibition of the 53rd Biennale di Venezia (2009), the 1st Aichi Triennial in Nagoya (2010) and guest curator of the 27th Bienal de São Paulo (2006). Jochen Volz lives in São Paulo.

Der Vortrag findet in englischer Sprache statt.

Jonathan Berger: Archive as Biography: Artists Experiments in Exhibiting Material Culture

Vortrag Curatorial Studies
Jonathan Berger: Archive as Biography: Artists Experiments in Exhibiting Material Culture
Mittwoch, 16. November 2016, 19 Uhr, Aula

Artist Jonathan Berger's work centers on the practice of exhibition making, encompassing a spectrum of activity including sculpture, installation, performance, archival work, design, education, and the production of large-­scale collaborative projects. The content of his exhibitions range from work that he physically produces or asks others to produce for him, to materials that he collects, seeks out, and re­-contextualizes, or that are the product of conversations and exchanges with others. Berger's relationship to these exhibitions exists in a gray area that both incorporates and rejects the standard conventions attached to the role of artist, curator, producer, archivist, and historian. In his presentation he will focus on the ways in which the exhibition site can be repurposed, specifically highlighting work with artist archives and collaborative projects involving the popular and the obscure, the static display and the event, that which is widely acknowledged as art and that which is not.

Jonathan Berger recently completed a three-­year term as director at 80 WSE Gallery, New York. Recent projects include: Ellen Cantor: Are You Ready For Love?; The Magic Flute, in collaboration with Vaginal Davis, Susanne Sachsse, Xiu Xiu, Jesse Bransford, Jackie Shemesh, and Michel Auder; James Son Ford Thomas: The Devil and His Blues, in collaboration with Jessica Garcia and Marybeth Brown; New Sights, New Noise, in collaboration with Michael Stipe; Devotion: Excavating Bob Mizer, in collaboration with Billy Miller; and Learn to Read Art: A Surviving History of Printed Matter, in collaboration with Max Schumann, ­­all of which were presented at 80 WSE Gallery. In 2013, he presented On Creating Reality, by Andy Kaufman at Maccarone, New York, in addition to organizing Andy Kaufman's 99cent Tour, the first comprehensive screening series surveying Kaufman's performance work, presented at Participant Inc., New York. In 2009, Berger organized the exhibition Stuart Sherman: Nothing Up My Sleeve at Participant, Inc., which was included in the 2009 PERFORMA Biennial. Berger has presented solo installation projects at the Busan Biennial, South Korea; Frieze Projects, London; Vox Populi, Philadelphia; Adams and Ollman Gallery, Portland, Oregon, Andreas Grimm Gallery and Karma Gallery, New York. Recipient of a Pollock-­Krasner Foundation and Haven Foundation Grant, Berger received his BFA from California Institute of the Arts in 2002 and his MFA from New York University in 2006, where he is presently a Clinical Assistant Professor in the Department of Art and Art Professions.

Eine Kooperation des Masterstudiengangs Curatorial Studies und dem Institut für Theater-, Film- und Medienwissenschaft, Goethe Universität Frankfurt.

Der Vortrag findet in englischer Sprache statt.

Jos de Gruyter & Harald Thys

Konzert
Jos de Gruyter & Harald Thys: The Frigate
Donnerstag, 3. November 2016, 17 Uhr, Portikus

Composer: Erik Thys
Performed by: Benjamin Saurer



Vortrag
Jos de Gruyter & Harald Thys: Ein äußerst wichtiges Gespräch
Donnerstag, 3. November 2016, 19 Uhr, Aula

Accompanying their exhibition „White Suprematism“ at Portikus (until until 20. November 2016) the artists are in conversation with Fabian Schöneich to talk about their work, their past, and their inspiration, while also showing some videos.

In more than 25 years of collaboration, Jos de Gruyter & Harald Thys have created a diverse body of work. For their exhibition at Portikus they show both small- and large-scale white-coated steel sculptures.

Once again, it is the terrifying and the banal nature of the everyday that the artists take as their subject. De Gruyter & Thys take up this development that (unconsciously) affects us all and, in this way, their works become a darker and more intense representation of everyday life. Their artistic approach is characterised by the tragicomic and the uncanny, as well as claustrophobic moments and situations, which assume a central role in their video works and performances, often resurface in their sculptures and drawings, and which are also recognizable in their site-specific installations.

Jos de Gruyter (b. 1965) and Harald Thys (b. 1966) live and work in Brussels. White Suprematism was initially presented at Contemporary Art Centre (CAC) in Vilnius, April 15–May 29, 2016. The exhibition at Portikus functions as a continuation, including new works. Recent solo exhibitions include CCA Wattis Institute for Contemporary Arts in San Francisco (2015), MoMA PS1 in New York (2015), Raven Row in London (2015), Kunsthalle Wien in Vienna (2014), and M HKA in Antwerp (2013).

Der Vortrag findet in englischer Sprache statt.

Elysia Crampton: Silver Mouth of The One Called Ukurunku

Vortrag
Elysia Crampton: Silver Mouth of The One Called Ukurunku
Dienstag, 8. November 2016, 19 Uhr, Aula

Elysia Crampton is a Bolivian-American producer, sound artist and conceptual collagist who performs and speaks around the world. Elysia’s music is an ambitious confluence of ideas, synthesising multiple underrepresented histories, geographies, musical genres and cultural signifiers into addictively colourful sonic material that packs contemporaneous dancefloor weight.

Following last year’s American Drift EP on Blueberry Records, her newest work, Elysia Crampton presents: Demon City arrives on Break World this summer: a concept album that works as an epic poem with guest appearances from Chino Amobi, Why Be, Rabit and Lexxi, Demon City will be accompanied by a live performance entitled Dissolution of The Sovereign: A Time Slide Into The Future, an audio-visual play that unfolds as a DJ production and live performance, bridging Aymara oral history tradition/theater legacy with Elysia’s own trans-femme abolitionist grasp of futurity.

Der Vortrag findet in englischer Sprache statt.