Pablo Larios: Lording Limit

Vortrag
Pablo Larios: Lording Limit
Dienstag, 14. November, 19 Uhr, Aula

The Lords of Limit, training dark and light
And setting a tabu ‘twixt left and right,

– W. H. Auden, ‘The Watchers’ (1932)

However we define its borders, art has become a place for doing and making things that aren’t always possible in other fields. Film, theatre, music, poetry, academic research and political activism have found their way into contemporary art. The field has reconfigured itself beyond narrow art historical canons and shed many of the values that underpin traditional hermeneutic and critical models.

What does this mean for criticism, teaching, curating and making art? Seen positively, multidisciplinarity is evidence of contemporary art’s capaciousness, inclusiveness and variety. Yet increasingly, contemporary art is derided as a site of disciplinary impingement, capitalist or neoliberal subsumption, cultural appropriation and even political transgression. What are art’s limits and who draws that line? In his talk, Larios will discuss recent encounters between contemporary art and poetry, tech and activism.

Pablo Larios is a writer and associate editor of frieze magazine based in Berlin.

Der Vortrag findet in englischer Sprache statt.

Daniel Dewar & Grégory Gicquel

Vortrag
Daniel Dewar & Grégory Gicquel
Montag, 13. November, 19 Uhr, Aula

Daniel Dewar & Grégory Gicquel are working together since 1997. Within their oeuvre, which has emerged over the past few years, they deal with traditional, handcrafted techniques in addition to their interest in classical sculpture. The artists are always concerned with manufacturing processes originating in different crafts, but that have become less and less visible in the course of technical automation. Dewar and Gicquel taught themselves various skills that are considered traditional, but do not necessarily employ the original techniques of the craft in the artistic production of their various works. In lengthy and complex stages, over recent years they have produced works in clay, high-fired ceramics, carved stone, wood and woven or embroidered textile.

On the occasion of their recent exhibition at Portikus, Daniel Dewar & Grégory Gicquel will deliver a lecture at Städelschule. Rather than presenting work, the artists will talk about the production process of individual pieces and site specific commissions.

Der Vortrag findet in englischer Sprache statt.

Thomas Meinecke: You Make Me Feel Mighty Real

Vortrag
Thomas Meinecke: You Make Me Feel Mighty Real
Mittwoch, 1. November, 19 Uhr, Aula

This lecture is will discuss both performatively and lyrically the idea of gender performance in pop music. You Make Me Feel Mighty Real was a major hit by the flaming Disco Queen Sylvester (formerly Cockettes), especially gaining resonance in the gay community. It was a central slogan of the disco movement, before this was killed off by Rock 1979 at a sport stadium under the motto Disco Sucks. And REALNESS is, of course, a queer high camp construct, which is awarded to participants in VOGUING competitions.

Thomas Meinecke is a German author, pop artist, musician and DJ. From 1978 to 1986 he was a co-editor and editor of the avant-garde magazine Mode & Verzweiflung. In the eighties he wrote columns for ZEIT. From 1986, he published stories and numerous novels, most recently the novel Selbst (Suhrkamp, 2016). Meinecke is also a musician and lyricist in the band Freiwillige Selbstkontrolle (FSK) as well as releasing records under his own name. He is also radio DJ in the program Zündfunk Nachtmix (BR 2) and regularly works as a club DJ. Since 2008, Meinecke has also been running a series of concerts under the title "Plattenspieler" at the Berlin Theater Hebbel am Ufer (HAU).

Der Vortrag findet in englischer Sprache statt.

Bonaventure Ndikung: The Dog Done Gone Deaf

Vortrag
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula

This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.

It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.

The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.

Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.

Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.

He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.

Der Vortrag findet in englischer Sprache statt. 

Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp

Vortrag Curatorial Studies
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula

Elena Filipovic will be speaking on her recent book, The Apparently Marginal Activites of Marcel Duchamp. The book tells a new story of the twentieth century’s most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp’s art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework.

Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).

Der Vortrag findet in englischer Sprache statt. 

Keller Easterling: Medium Design

Vortrag
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula

A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.

In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.

Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.

Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.

At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.

Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.

Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.

Der Vortrag findet in englischer Sprache statt.

Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes

Kollektion
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle

Dauer: 10.10.-14.10.2017
DI–FR ca. 11h – 18h
SA ca. 11h – 16h

Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main

Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.

Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)

Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)

English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx


Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.

Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.

Eintritt frei. 

Portikus XXX Summer Screenings: Non-work

Filmvorführung
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel

The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.

What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.

In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.

The Portikus XXX summer screenings are programmed by Levi Easterbrooks. 

Veranstaltung findet in englischer Sprache statt.
Eintritt frei.