Fruit of the Gloom ON TOUR

MUSIC // DRINKS // GARDEN // T-SHIRTS // XL // L // M // LIVE
Filmklasse Städelschule: Fruit of the Gloom ON TOUR
Mittwoch, 07. September 2016, 18 - 22 Uhr, Portikus

Hiermit möchtet die Filmklasse der Städelschule Euch ganz herzlich zu der Veranstaltung Fruit of the Gloom ON TOUR: a cover band swag project in den Portikus einladen.

Ausgestellt werden eine limitierte Edition von handbedruckten und selbst-designten Faux Coverband T-Shirts, welche von Douglas Gordon und der Filmklasse entwickelt und produziert wurden. Diese werden an dem Abend zum Verkauf stehen.
Der Portikus markiert hierbei die erste Station des fortlaufenden ON TOUR Projektes der Klasse von Douglas Gordon.

Mit Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen und Douglas Gordon.

Wir freuen uns auf Euer Kommen!

Die Ausstellung the ALL-OVER von Amy Sillman wird an diesem Abend bis 22 Uhr geöffnet sein.

**********

The Film class of Städelschule would kindly like to invite you to the event Fruit of the Gloom ON TOUR: a cover band swag project at Portikus.

There will be a limited edition of printed faux cover band t-shirts on display and for purchase, which were specially designed and produced by Douglas Gordon and his class. Portikus will be the first iteration of the on-going ON TOUR project.

With Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen and Douglas Gordon.

We are looking forward to your visit!

The exhibition the ALL-OVER by Amy Sillman will be open on this day until 10pm.

***die Veranstaltung fällt leider aus *** Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean

***die Veranstaltung fällt leider aus ***

Vortrag Institut für Kunstkritik
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 12. Juli 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).

Ringvorlesung Sommersemester 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?

Die Veranstaltung findet in englischer Sprache statt.

***die Veranstaltung fällt leider aus ***

Amy Sillman: Artist Talk

Vortrag
Amy Sillman: Artist Talk
Montag, 27. Juni 2016, 19 Uhr, Aula

Amy Sillman is interested in painting and drawing, and how form gets entangled with other things, such as poetry, gesture, time, video/film, affect, feminism and humor. In her artist talk, she will outline the development of her work and process, and will discuss how various side-projects (such as zines and digital animations) have become more central to her practice as a painter. Sillman will also introduce her upcoming project for Portikus.

Sillman has lived in New York City since 1975, where she first studied Japanese language, before turning to painting. She received an MFA from Bard College in 1995, and has shown regularly since then, including such venues as The Whitney Museum, MoMA, and The San Francisco Museum of Modern Art. Her work is currently on view in Painting 2.0 at MuMOK in Vienna, and a group show at Barbara Gladstone in NYC. She is currently working on a digital animation about Ovid's Metamorphoses, which will be shown in January 2017 at The Drawing Center in NYC.

Amy Sillman has been a professor at Städelschule since Spring 2015.

Der Vortrag finden in englischer Sprache statt. 

Jimmy Durham & Dirk Snauwaert

MMK Talks
Jimmy Durham & Dirk Snauwaert
Freitag, 8. Juli 2016, 19 Uhr, MMK 2

The concept artist, poet and activist Jimmie Durham has been politically active in the American civil rights movement since the early 1960s. His multi-faceted oeuvre is concerned with the relationship between history and context, architecture and monumentality, and takes a critical stance towards political power structures and narrations of national identity. He has an international reputation as one of the most prominent artists of the present and has been honoured with a large number of awards and exhibitions, for example at the Venice Biennale (1999, 2015, etc.) the Documenta (2012, 1992) and the 29th São Paulo Biennale (2010). He is represented in the exhibition An Imagined Museum at the MMK.

In conversation with:
Dirk Snauwaert has been the artistic director of the WIELS centre of contemporary art in Brussels since 2005. He has organized a large number of exhibitions internationally; at the 53rd Venice Biennale (2009) he curated the Belgian pavilion. In 1993 he staged the first Durham retrospective at the Palais des Beaux Arts in Brussels.

Der Vortrag findet in englischer Sprache statt.
Eintritt frei

Banu Cennetoğlu & Vasif Kortun

MMK Talks
Banu Cennetoğlu & Vasif Kortun:
Donnerstag, 30. Juni 2016, 19 Uhr, MMK 1

The artist Banu Cennetoğlu explores the political, social and cultural dimension of the production,
representation and distribution of knowledge and asks how it feeds into a society’s collective thought
and becomes part of its ideology. Cennetoğlu has participated in major international exhibitions such
as the 10th Gwangju Biennale, South Korea; at the 53rd Venice Biennale (2009) she and Ahmet Öğüt
represented Turkey. She is represented at the 13th Fellbach Triennial of Small-Scale Sculpture (2016).

In conversation with:
The free-lance critic and curator Vasif Kortun is known as one of the most important critical voices in
the discourse on Turkey’s radically changing cultural politics. He has organized numerous international exhibitions focussing on art production in Turkey, for example the 3rd and 9th International Istanbul Biennale (1992 and 2005) as well as the Turkish pavilions at the São Paulo Biennale (1994 and 1998) and at the 52nd Venice Biennale (2007).

Der Vortrag findet in englischer Sprache statt.
Eintritt frei.

Jace Clayton: Listening When God is in the Room

Vortrag
Jace Clayton: Listening When God is in the Room
Dienstag, 28. Juni 2016, 19 Uhr, Aula

What’s so special about experiencing sound in a packed club? Why does music sound better when God is in the room? How did supercomputers listening to geology improve pop music? In the lecture, Jace Clayton (aka DJ /rupture) will explore these questions. From personal stories of after-hours dancing in Boston and Jamaica to a discussion of Koranic recitation in Egypt. Listening audiences considered from the body, the earth below, and the heavens above.

Jace Clayton is an artist and writer based in New York, also known for his work as DJ /rupture. Clayton uses an interdisciplinary approach to focus on how sound, memory, and public space interact, with an emphasis on low-income communities and the global South. His book Uproot: Travels in 21st Century Music and Digital Culture will be published in August by Farrar, Straus and Giroux. Recent projects include Sufi Plug Ins, a free suite of music software-as-art, based on non-western conceptions of sound and alternative interfaces; and The Julius Eastman Memorial Dinner, a touring performance piece for grand pianos, electronics, and voice.

As DJ /rupture, he has released several critically acclaimed albums and hosted a weekly radio show on WFMU for five years. Clayton’s collaborators include filmmakers Jem Cohen, Joshua Oppenheimer, poet Elizabeth Alexander, singer Norah Jones, and guitarist Andy Moor (The Ex). Clayton joined the Music/Sound faculty of Bard College’s MFA program in 2013 and is a 2014 New York Foundation for the Arts Nonfiction Literature fellow. More info at jaceclayton.com | @djrupture

Der Vortrag finden in englischer Sprache statt. 

Heba Y. Amin: Subverting the Media as Artistic Practice

Vortrag
Heba Y. Amin: Subverting the Media as Artistic Practice
Dienstag, 21. Juni 2016, 19 Uhr, Aula



Heba Y. Amin is an Egyptian visual artist and scholar whose work is embedded in extensive research addressing the convergence of politics, technology, and urbanism. She is particularly interested in tactics of subversion and techniques used to undermine systems as well as topics surrounding critical spatial practice and critical geography. While often relating to the contemporary political situation in Egypt, she doesn’t see art simply as a tool for political transformation, but is rather interested in how art and politics can interact in multiple complex ways. Amin is also one of the artists behind the subversive action on the set of the television series “Homeland” which received worldwide media attention and led to the making of the short film "Homeland is not a Series" produced by Field of Vision (The Intercept).
Amin received her MFA at the University of Minnesota and is a DAAD grant recipient (2010-2012), a Rhizome Commissions grant winner (2009) and a recent short-listed artist for the Artraker prize (2014). She is currently the curator of visual art for MIZNA journal (US), curator for the biennial residency program DEFAULT with Ramdom Association (IT) and co-founder of the Black Athena Collective. Her artistic work has been shown worldwide with recent exhibitions at Dak’Art 2016 Biennale, the Marrakech Biennale 2016 Parallel Projects, the Museum of Modern Art in Warsaw, the Kunstverein Hamburg, Berlin Berlinale Forum Expanded (2014, 2016), and the IV Moscow International Biennale for Young Art. She lives between Berlin and Cairo. More information on her work can be found at www.hebaamin.com.

Der Vortrag findet in englischer Sprache statt.

Benjamin Buchloh: Looking Back at Books

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

Benjamin Buchloh: Looking Back at Books
Mittwoch, 22. Juni 2016, 19 Uhr, Aula

Just when the cultural tendencies at large have declared the end of the print media in general - and the disappearance of the book in particular - it seems appropriate to look back once more in slight wonder and bewilderment at the euphoria with which books was celebrated at the onset of Conceptual Art in the early to the mid 1960s; celebrated as an event of a revolutionary revision of all previously existing forms of artistic production and distribution.

The lecture attempts to clarify that historical moment, its blind enthusiasm and its hypertrophic delusions resulting from a deep investment in a belief, that technological changes in book form would actually contribute inevitably to progressive forms of perception and overall processes of socio-political enlightenment.

At the same time, the lecture attempts also to invert the traditionally optimistic reading of these Conceptual books from Ed Ruscha in 1962 to Lawrence Weiner, and from Bernd and Hilla Becher to Marcel Broodthaers in 1968. And we will try to historicize the strangely antiquated utopian belief of these artists in the power of books, as a peculiar misreading. Rather than being endowed with an emerging radicality of the transformations of readerly and writerly forms of experience, the printing and photographic technologies of these books were by that time actually threatened with disappearance and extinction, as we now know.

Ringvorlesung Sommersemester 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?


Die Veranstaltung findet in englischer Sprache statt. 

Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century

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

Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century.
Donnerstag, 23. Juni 2016, 19 Uhr, Aula

For the last almost two decades artists have become role-models within contemporary society. A development which is largely due to the characteristics ascribed to them: freedom, creativity and self-determination. The appropriation of these qualities within social contexts, however, is taking place with contradictory signs: While on the one hand, what is asked for, is the use of self-organizational skills in working contexts, synergetic exchanges between different forms of knowledge production and innovative potentials of economic or ecological development processes. What is overlooked on the other hand is that these qualities precisely elude demands of utility or efficiency. 

In times of the newly reheated debates on the Bologna process, the precarious working conditions in a post-fordist economy and the continuing instrumentalization of the so-called creative class how does this affect the image of the artist? Instead of being economically appropriated how can the assigned qualities - as parts of this image - become culturally, socially and politically operative again?

Beatrice von Bismarck is professor for art history and visual studies at the Hochschule für Grafik und Buchkunst (HGB) Leipzig and program director of the academy’s own gallery. She lives in Berlin and Leipzig.

Ringvorlesung Sommersemester 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?


Die Veranstaltung findet in englischer Sprache statt. 

Julia Moritz & Yannic Joray: Zerschwörung - from Freeport to Deepscum

Vortrag
Julia Moritz & Yannic Joray: ZERSCHWÖRUNG - A SORCERER'S APPENDIX
Mittwoch, 6. Juni 2016, 19 Uhr, Aula

On a journey with the enigmatic literary figure Nemo, this lecture, reading, and discussion session by  Julia Moritz and Yannic Joray dives into some subaltern layer of trans-atlantic relations that we suggest to take back into account for contemporary critical cultural analysis, particularly with regard to neoliberal macro-politics and their resulting institutional templates for Art.

In canonical art history lessons, the Salon de Refusés in Paris (1863) and the succeeding Salon des Indépendants marks a corrective and consequential move away from the cultural establishment courting the Royal Academy. For the first time, exhibitions and art fairs with an ‘open call’ policy addressed their bourgeois audiences directly (viewers and buyer alike) in order to approve their programming (and not the Royal Jury anymore). This supposedly rebellious and so called ‘birth of modernity’ was saluted by Napoleon III and the likes and so -- we propose a diverging, more literal reading of this landmark moment in Art’s struggle for autonomy: Jules Verne’s timely as well as trans-historical figure Captain Nemo, the deep sea dweller, the protagonist of Twenty Thousand Leagues Under the Seas: An Underwater Tour of the World (1869/70).

Persistingly penetrating British colonial maritime merchant vessels, the submariner Nemo was described by Verne as of Indian descent and therefore keen to avenge Imperial abuse overseas. Not unlike a sequel to Moby Dick, the story begins with Nemo abducting a group of American whalers and inducting them (and the reader) on board the Nautilus to his covert operation. Here, it will be important to consider that during imperial British rule, the military force and trading monopoly in the colonies was solidified, guaranteed and paid for by the British East India Company (EIC, 1600-1874) and the Bank of England -- the very first of a ‘too big to fail’ multinational shareholder company.

This session seeks to orient ourselves and each other in this politico-economical history and its cultural ramifications in order to position our thinking and practice with regard to the tragedy and farce of current global phenomena such as the financial crisis of 2008, the subsequent credit crunch, the easing of monetary policies, and the dominance of central banking. The notion of "tra(ns)versality" (Felix Guattari) and its various mutations may further our speculative inquiry into the meaning of making and moving, including the challenges that recent changes in structure and speed pose to artistic practice and theory alike.

Reference:
http://www.ibiblio.org/julesverne/books/20t_with_5th_reprint_revisions.pdf


Julia Moritz is an art historian and curator currently employed as a Curator of Theory and Programmes at Kunsthalle Zurich. Before, she has headed The Maybe Education and Public Programs of dOCUMENTA (13) in Kassel, Germany (2012). These programmes have intended to nurture the imaginative state needed to inhabit the realm of the “maybe” – of the possible. Moritz was also a curator at the University of Lüneburg (2012) where she has organized the exhibitions and events program of the university’s art space (Kunstraum) and has taught seminars in the cultural studies teaching program. She has worked for major exhibitions such as Manifesta 7 in Trentino/Alto Adige (2008); the German Pavilion at the 52th Biennale di Venezia (2007) and has independently curated several smaller scale projects such as most recently the Young Girl Reading Group Show (with Dorota Gaweda & Egle Kulbokaite, 2016). Moritz has co-edited the volume “Question of the Day” (2007) in which she puts forward a dialogical inquiry into the formats used for art production and distribution that she further elaborated in a PhD dissertation (2010) on institutional critical practice in spaces of conflict (such as the Basque Country), mainly written at the Whitney Independent Studies Program (2009).

Yannic Joray is an artist based in Zurich. He has recently taught seminars at the ZHdK Zurich University of Arts (2015) and the FHNW Academy of Art and Design in Basel (2015) together with Julia Moritz. The course at the ZHdK focused on the Kunsthalle Zürich’s 30-year anniversary and it’s programmatic shifts. Twelve guests joined the seminar, including artist Pauline Boudry and Manifesta 11 curatorial advisor John Beeson. Joray’s works where recently shown at Kunsthalle Bern (2015) and The Duck, Berlin (2015). Together with Lorenzo Bernet, Fredi Fischli and Luca Beeler he co-curated several project spaces in Zurich.

Der Vortrag findet in englischer Sprache statt.

„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen

Tagung, eine Kooperation des MMK Museum für Moderne Kunst Frankfurt am Main, der Curatorial Studies und des Kunstgeschichtlichen Instituts der Goethe-Universität Frankfurt.
„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen
Samstag, 2. Juli 2016, 10 Uhr, MMK 1, Vortragssaal

Die Ausstellung „Das imaginäre Museum“ skizziert ein ebenso faszinierendes wie bedrohliches Zukunftsszenario. Es stellt die Selbstverständlichkeit des Museums als einer gesellschaftlich etablierten Institution in Frage.

Ausgehend von André Malraux’ Essay „Musée imaginaire“ werden im Rahmen der Tagung verschiedene künstlerische und literarische Museumsfiktionen diskutiert. Immer wieder haben sich Künstlerinnen und Künstler kritisch und programmatisch mit der Institution ‚Museum‘ auseinandergesetzt. Sie haben danach gefragt, was mit ihren Arbeiten geschieht, wenn sie ins Museum überführt werden. Wie wird ausgewählt und wie bewertet? Umso mehr haben sie die Institution und die damit verbundenen Akteure in den Blick genommen.

Dabei fällt auf, dass das Museum auch in seiner klassischen Form keineswegs nur Anlass zu Kritik gegeben hat, sondern immer auch als Ankerpunkt für künstlerische Experimentalanordnungen nutzbar gemacht wurde. Bei Künstlern und Wissenschaftlern finden sich sowohl Konzepte mit alternativen Präsentationsformen und Objektnachbarschaften, als auch Utopien, die Musealisierungen in Frage stellen und neu denken.

Nicht zuletzt soll auf dieser Basis eine diagnostische Perspektive interessieren: Wie ist es um die Gegenwart des Museums bestellt, wenn seine Selbstverständlichkeit in Frage gestellt ist?

Eine Anmeldung ist nicht erforderlich, der Eintritt ist frei.

Programm
Samstag, 2. Juli 2016

9:30 Uhr
Begrüßung
Peter Gorschlüter

9:45 Uhr
Einführung
Christian Spies und Stefanie Heraeus

10:00 Uhr
Dieter Daniels (Leipzig)
The imaginary readymade

11:00 Uhr
Sebastian Egenhofer (Wien)
Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles, 1968-72

Bis 13:30 Uhr Mittagspause

13:30 Uhr
Dirk Hildebrandt (Frankfurt)
Das Museum als Funktion. Allan Kaprow und die Genese des Happening

14:30 Uhr
Anne-Marie Bonnet (Bonn)
Das Museum meiner Träume

16:00 Uhr
Peter Gorschlüter (Frankfurt)
Führung durch die Ausstellung Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK (MMK 2 im Taunus Turm)

17.30 Uhr Ende der Tagung