LEONARD KAHLCKE

Performance
"Tokat"
21.01.2011, 19:00h
Ort: Stiftstrasse 34, Frankfurt am Main

Konzeptuelle Herangehensweisen spielen in den interdisziplinären
Arbeiten von Leonard Kahlcke eine wichtige Rolle. Die zunehmende Relevanz der Ästhetisierung in allen Lebensbereichen ist für den Künstler zentral, denn hierin liegen für ihn Formen und Potentiale für symbolischen und politischen
Widerstand. Geschickt infiltriert und attackiert er gesellschaftliche
Normen und deren ästhetische Codes, indem er die herrschenden Codes auch ästhetisch kontert. Diese Taktik ist stilbildend für Kahlckes Werk.
In der performativen Installation für New Frankfurt Internationals
setzt sich Kahlcke mit der Architektur und der
Bedeutung von zentralen und repräsentativen Plätzen der
Innenstadt auseinander. Fotos von Jugendbanden der 1980er
und 1990er Jahre, die er innerhalb der Szene recherchiert hat,
stellt er eigens angefertigte, aktuelle Fotografien von „Repräsentationsarchitektur“
gegenüber. Kahlcke macht in einer narrativen Schau die Phänomene repressiver Raumaneignung visuell erfahrbar. Hierzu Kahlcke: „Es geht um den Wandel der Metropole, die repräsentierende Dominanz von Architektur und Mensch, Zugehörigkeit und Nichtzugehörigkeit, sowie den Machtanspruch auf zentrale Räume der Stadt – oder besser, warum der Kampf um die Innenstadt wichtig ist.“

Leonard Kahlcke wurde 1975 in Frankfurt a. M., Deutschland geboren.Er studierte an der Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M.

CLAUS RICHTER

Performance
"The Dog, that knew too much"
4. Februar 2011, 19Uhr
MA* ehemalige Diamantenbörse
Stephanstraße 1 – 3

Richter performt üblicherweise in Kooperation mit Oliver Husain
und Sergej Jensen. Für New Frankfurt Internationals entwickelt
er eine grelle Mini-Solo Show, gespielt mit Hundehandpuppen,
die nur von ihm selbst handelt.
Die Geschichte dreht sich ganz um die abenteuerlichen,
absurden und traurigen Momente, die der gestresste Künstler
an einem Arbeitstag erlebt, besonders im Bezug zu Auftraggebern,
Kuratoren und Galeristen.
Hitzige Diskussionen und konträre Standpunkte werden
auf Hundeart ausgetragen und mit kleinen Kunststücken untermalt.
Eingefasst ist die Performance in ein aus Pappmasche
gebautes Bühnenbild, welches an die flüchtige TV-Entertainmentindustrie
erinnert.
Richters bekanntes Muppetshow-Faible, welches auch seine
früheren Arbeiten inspirierte, nutzt er geschickt, um spielerisch
und phantasievoll Problematiken des Kunstbetriebes
aufzuzeigen. Hierbei werden Hierarchien unter den Künstlern
oder die eigene Glaubwürdigkeit subversiv pointiert. Beware
of the dogs!

Claus Richter wurde 1971 in Lippstadt, Deutschland geboren. Er studierte an der
Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M. und Köln.

MICHELE DI MENNA

Performance
"A performance of motions in large proportions"
29.01.2011, 19:00h
Nur mit Anmeldung unter post@fkv.de
Ort: MesseTurm
60308 Frankfurt

Performance, Skulptur, Text, Collage, Video und Klanginstallation
umkreisen sich in der Kunst von Michele Di Menna, formen
gemeinsam und doch für sich mögliche Welten, in denen die
Künstlerin stets alleinige Protagonistin bleibt – eine Dirigentin
der Form der Dinge, die kommen. Während einige Elemente
ihrer Installation aus festen Materialkomponenten bestehen,
ergibt sich ein Gesamtbild von Flüchtigkeit in Di Mennas Performances,
bei denen alle Elemente Verwendung finden. Von
den Performances bleiben die Kostüme, Skulpturen, Collagen
und Videos sowohl als Überreste vergangener Ereignisse
zurück, als auch als eigenständige Objekte. So funktionieren
die Environments der Künstlerin als flüchtige Erscheinungsformen
eines von Bewegung beherrschten Schaffensprozesses.
Michele Di Menna inszeniert komplexe Situationen, mit
denen sie die Beziehung zwischen menschlichem Körper und
Kommunikation in den Grenzen des architektonischen Raums
auslotet. In ihrer Performance für New Frankfurt Internationals
plant Di Menna die ephemere Erkundung eines mysteriösen
Vorgangs im berühmten Frankfurter Messeturm.
Die Künstlerin wird u. a. den absurden Prestige-Kampf in
modernen Metropolen um die Höhe von Hochhäusern thematisieren.
Ihr besonderer Fokus gilt den architektonisch-spekulativen
Freiräumen, in dem die Kultur auf Ökonomie trifft und
in zweckentfremdeten Spitzaufbauten, wie Antennen, Pyramiden
und aufeinandergestapelte Klimanlagen ihren Ausdruck
finden.

Michele di Menna wurde 1980 in Vancouver, Kanada geboren. Sie studierte am Emily Carr Institute of Art and Design, Vancouver und an der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Berlin.

Mit besonderen Dank an: MesseTurm Frankfurt am Main

MICHAEL RIEDEL

Performance (mit Daniel Baumann)
„Antrittsrede als neuer Direktor des Frankfurter Kunstvereins 2008”
7.01.2011, 19:00h
Ort: „Oskar-von-Miller Strasse 16“ (Mainzer Landstr. 105, HH)
60329 Frankfurt

2000 gründete Michael Riedel mit Denis Loesch den mittlerweile
legendenumwobenen Ausstellungsraum Oskar-von-Miller
Strasse 16 an gleichnamiger Stelle in Frankfurt, der Ort
an dem auch die Freitagsküche begann. 2006 wurde das Gebäude
abgerissen, was zu einem vorübergehenden Ortswechsel
nach Berlin führte, wo die Oskar-von-Miller Strasse 16 in der
Weydinger Strasse 20 in Berlin-Mitte zu finden war. Seit Anfang
dieses Jahres ist Michael Riedel wieder in Frankfurt.
Für die Ausstellung New Frankfurt Internationals findet in
dem neuen Ausstellungshaus in der Mainzer Landstrasse 105
noch einmal seine Antrittsrede als neuer Leiter des Frankfurter
Kunstvereins statt, die er gemeinsam mit Daniel Baumann am
09. Oktober 2008 im FKV gehalten, und darin eine Neuausrichtung
der Institution Kunstverein formuliert hat.

Michael Riedel wurde 1972 geboren. Er studierte an der Kunstakademie Düsseldorf; der Städelschule, Frankfurt a. M. und
der École Nationale Supérieure des Beaux-Arts, Paris. Er lebt und arbeitet in Frankfurt a. M. und New York

ADRIAN WILLIAMS

Performance
"At Hand – episode one"
11.12.10, 19:00h
Ort: MMK Vortragssaal

Adrian Williams‘ Arbeiten erzählen Geschichten in Form von
Performances, Tonstücken, Interventionen, Filmen, Objekten
und Papierarbeiten. Sie erfindet fiktionale Charaktere und
bettet diese teilweise in wirkliche Situationen ein. In ihren Performances
verbinden sich Filme, Texte, Sprache, Geräusche,
Musik und Sound. In Zusammenarbeit und Interaktion mit einem
Komponisten, Musikern, einem Geräuschemacher, der mit Hilfe
von Gegenstände und Aufbauten Geräusche imitiert, sowie
einem Schauspieler vertont sie live die Kurzgeschichte At Hand.
Dieses Stück schildert die spannende Geschichte eines
fiktiven Protagonisten, dessen Gepäck am Frankfurter Flughafen
verloren geht, sowie seine Suche und Versuche, dieses Gepäckstück
wiederzubekommen. Der Titel At Hand deutet darauf hin,
dass etwas bevorsteht oder passiert, wie die Performance
selbst oder aber die hierbei erzählten Ereignisse, die vor allem
jene Momente kurz vor einer Begebenheit beschreiben.
Während Williams die Geschichte erzählt, reagieren die
Musiker und der Foley-Editor klanglich darauf und steigern so
die Dramaturgie. At Hand basiert auf der Transkription einer
sechsteiligen Serie, die Adrian Williams in diesem Jahr über sechs
Monate hinweg in einer einstündigen Radiosendung erdachte,
erzählte und performte. At Hand – Episode One ist der erste Teil
dieser Serie.

Adrian Williams wurde 1979 in Portland, Oregon, USA geboren.
Sie studierte an der Pacific North-west College of Art ,Portland, Oregon,USA; der Cooper Union School of Art, New York und
der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Frankfurt a. M.

MARIA LOBODA

Performance
"that obscure object (The bad boys of Harvard)"
10.12.10-13.02.11
Ort: entlang der Braubachstrasse, Frankfurt a.M.

Foto: Axel Schneider


Als "The bad boys of Harvard" wurde eine Gruppe von jungen Landschaftsarchitektur-Studenten um Garrett Eckbo und James Rose in Harvard in den 30ern bezeichnet, welche in ihrer Arbeit stark von Gropius, Malevitsch und Moholy Nagy beeinflusst wurden.
Sie widersetzen sich der, bis dato, klassischen Auffassung von amerikanischer Landschaftsarchitektur, dem "Beaux-Art Movement" welches eine dekorative Umsetzung bevorzugte und gelten bis heute als Pioniere eines modernen, radikaleren, sozial orientierten Designs.
James Rose wurde für seine progressiven Ideen von Indoor-Outdoor Gärten sowie einem Schwerpunkt auf geometrischem Design aus Harvard ausgewiesen.
In ihrer neuen in situ Arbeit "The bad boys of Harvard" beschäftigt sich Maria Loboda mit der Idee von radikalen Landschaftsarrangements, sowie der surrealen Ebene welches ein "continuity mistake", eine Erscheinung aus der Filmkunst, die durch Anschlussfehler in der Szenenkoordination oder der Schnitttechnik entsteht, mit sich bringt.
Mehrere, geometrisch geschnittene Buchsbäume, eigentlich ein bourgeoises Symbol, bewegen sich, im wöchentlichen Rhythmus, im öffentlichen Raum um das MMK und den Frankfurter Kunstverein, als eine Art "Wald in Bewegung" - eine "Gang" welche  ihre passive Rolle als dekorative Gartenelemente durch Veränderung ihrer Standortes aufgeben und sich der Architektur des öffentlichen Raum in den Weg stellen.
Diese Performance „in flux“, entwickelt ihre Narration schrittweise über die gesamte Ausstellungsdauer. Durch die Veränderung der Position der Protagonisten; der Buchsbäume, spielt Maria Loboda ebenfalls auf die Fehler im Ablauf einer Choreopraphie an.
Bricht der „continuity mistake“ in den Alltag ein, werden die Grenzen von Realität und Fiktion in Frage gestellt. Der Gedanke des Kontrollverlustes über die Phänomene des Alltags, die Erfahrung, dass das „Ich nicht Herr im eigenen Haus ist“ (Sigmund Freud), die Eröffnung eines surrealen Raumes im Stadtraum, ermöglicht dem Betrachter, seine eigene Narration im Verhältnis zu Zeit und Ort neu zu erleben.
 
Maria Loboda wurde 1979 in Krakow, Polen geboren. Sie studierte an der Städelschule. Sie lebt und arbeitet in Berlin.

Mit besonderen Dank an: Baumschule Peselmann, Bad Homburg

VASIF KORTUN

Vortrag
Vasif Kortun: Instituting Now [in istanbul]
Dienstag, 30. November 2010, 19 Uhr, Aula

Vasif Kortun is a writer, curator and teacher in the field of contemporary art. He is the founding director of Platform Garanti CAC a non-profit contemporary art institution with an extensive library, documentation center, artist archives, exhibition space and an international residency program for artists, critics and curators. He also founded Proje4L, Istanbul Museum of Contemporary Art [2001- 2003], where he curated seminal exhibitions of artist from Turkey. The first director of the Museum of the Center for Curatorial Studies at Bard College [1994 and 1997], he organized the first U.S. museum exhibitions of artists like Kara Walker, Nedko Solakov and Boris Mikhailov. Vasif Kortun was the chief curator of the 1992, and co-curator of 2005 Istanbul Biennials; a co-curator of Sao Paolo [1998], Second Ceramics Biennial [Albisola, 2003], Taipei Biennial in [2008], He is the curator of the UAE Pavilion, Venice Bienial [2011]. He has curated the Turkish pavilions for 1994 and 1998 Sao Paolo and 2007 Venice Biennials. He is a board member of the Foundation for Arts Initiatives, and sits on the advisory committees of the Periferic Biennial; Artists Pension Trust Dubai, The Gyeonggi Creation Center, Korea, and Broadsheet Magazine Australia.

The lecture will revolve around questions of attempting to institute specificity with a focus on SALT a new program to open in Istanbul in the Spring of 2011.

DJ SPOOKY

Vortrag
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula

In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.

Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.


Die Veranstaltung findet in englischer Sprache statt.

MARKUS MIESSEN

Vortrag
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula

Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.


Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.

THOMAS KEENAN

Vortrag
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula

Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?

Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.

EYAL WEIZMAN

Vortrag
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula

The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.

Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).

WILLEM DE ROOIJ

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula

Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de

Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.

ANSELM HAVERKAMP

Festvortrag im Rahmen der Auftaktveranstaltung des Masterstudiengangs Curatorial and Critical Studies
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt

Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.

Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt

relational lockout

relational lockout - music as social space

Thursday, 15. July
Opening: 18:30
Begin of panel discussion: 19:00
concert: ca. 21:00
 
Avantgarde and youth culture: radical action or market differentiation?
 
Martin Büsser
Michael Wertmüller 
Thomas Mahmoud 
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
 
 
Noise, drone, improv – are these newly invigorated musical strategies a sign of the formation of a youth culture again fundamentally disapproving the commodity rationale or is it more a postmodern playful and romantic manipulation of signs, forms and channels of commoditized culture and past media types?
 
Martin Büsser co-founded the Ventil-Verlag publishing house as well as the book series "Testcard - Beiträge zur Popgeschichte" (Testcard - contributions to pop history). He has written many books on pop history and pop theory.
Michael Wertmüller is a sought-after composer whose works are being performed at big festivals for New Music. He also plays Free Jazz with people like Peter Brötzmann. Thomas Mahmoud celebrated successes with his band von spar. Together with Wertmüller and Marino Pliakas he founded the avantgarde-band Ives#1. Stefan Tcherepnin is a composer and musician. He works amongst other with Ei Arakawa and Merlin Carpenter. Szepanski published "Soundcultures" and founded Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki have founded the relational micro-nexus KACHELTISCH and organize the event.
 
concert: Thomas Mahomoud and Michael Wertmüller; Blake Fuchs
 
 
Friday, 16. July
Begin of panel discussion: 19:00
concert: ca. 21:00
 
Improvisation: plays, rules, technologies and communication 
 
Institut für Feinmotorik
Felix Klopotek
 
Improvisation is a way of creating/demolishing rules and communication structures within the process of instant composing. How do technologies (new/abused interfaces, new/abused audio generators), spaces and personal relations to the other musicians take affect?
 
 
The Institut für Feinmotorik researches with its Octogrammoticum the improvisation with record players since the mid 1990s. On their tours they have played in the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe and Goethe-Institut in Buenos Aires. Felix Klopotek writes for Jazzthetik, Spex and Testcard; in 2002 he published the book „How they do it. Freejazz, Improvisation und Niemandsmusik“. He operates the label Grob producing the currently most important improvisational music.
 
concert: Institut für Feinmotorik
 
 
 
 
Saturday, 17. July
Begin of panel discussion: 19:00
concert: ca. 21:00
 
Leisure, fun and power play: the history of music – from sacred to commodity?
 
Achim Wollscheid
Lars Becker, Peter Pawlicki
Thomas Mahmoud
 
The use of music openly as an instrument in (micro-)politics of power has apparently changed to more subtle forms of music as a way to dampen social frictions. Although this does not exclude the possibility of transgression of the commodity rationale it makes the boundaries to be crossed less visible.
 
Achim Wollscheid is media artist, focusing in his works with sound, light and space and their interfaces
 
concert: Achim Wollscheid; Workshop band

 __________________________________________________________________________________________________________________

relational lockout - Musik als sozialer Raum

Donnerstag, 15. Juli
Eröffnung: 18:30 Uhr
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
 
Die Veranstaltung findet in englischer Sprache statt.

Avantgarde und Jugendkultur: Radikale Aktion oder Marktdifferenzierung?
 
Martin Büsser
Michael Wertmüller 
Thomas Mahmoud 
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
 
Noise, Drone, Improv – sind diese teils neuerdings wiederbelebten teil- weiterentwickelten musikalischen Strategien ein Zeichen für die Formation einer Jugendkultur, die wieder fundamental die Warengesellschaft ablehnt, oder ist es eher eine postmoderne, spielerisch-romantische Manipulation von Zeichen, Formen und Kanälen der kommodifizierten Kultur und vergangener Medienformate?
 
Martin Büsser ist Mitbegründer des Ventil-Verlages und der Buchreihe "Testcard - Beiträge zur Popgeschichte". Zahlreiche Bücher zur Popgeschichte und Poptheorie wurden von ihm verfasst. Der klassisch ausgebildete multiinstrumentalist Michael Wertmüller ist ein gefragter Komponist, dessen Werke auf großen Festivals der Neuen Musik aufgeführt werden. Daneben spielt er Free Jazz mit so illustren Persönlichkeiten wie Peter Brötzmann. Thomas Mahmoud feierte Erfolge als Sänger mit seiner Band Von Spar. Zusammen mit Wertmüller und Marino Pliakas gründete er die Avantgarde-Band Ives#1. Stefan Tcherepnin ist Komponist und Musiker.  Er Arbeitet unteranderem mit Ei Arakawa und Merlin Carpenter zusammen. Szepanski ist Herausgeber von "Soundcultures" und Gründer von Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki sind Gründer von des relationalen Mikro-Nexus KACHELTISCH und Organisatoren der Veranstaltung.
 
Konzert: Thomas Mahomoud und Michael Wertmüller; Blake Fuchs
 
 
Freitag, 16. Juli
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
 
Die Veranstaltung findet in englischer Sprache statt.

Improvisation: Spiele, Regeln, Technologien und Kommunikation
 
Institut für Feinmotorik
Felix Klopotek
 
Improvisation ist eine Möglichkeit, Regeln und Kommunikationsstrukturen im Zuge des ‚instant composing’ zu etablieren und zu zerstören. Welchen Einfluss üben dabei Technologien (neue/missbrauchte Schnittstellen, neue/missbrauchte Audiogeneratoren etc.), Räume und persönliche Beziehungen zwischen den Musikern aus?
 
Das Institut für Feinmotorik erforscht seit Mitte der 90er Jahre mit seinem Octogrammoticum die Improvisation an Plattenspielern ohne Schallplatten. Auf ihren Tourneen spielten sie u.a. im Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe und im Goethe-Institut in Buenos Aires. Felix Klopotek schreibt für Jazzthetik, Spex und Testcard; 2002 veröffentlichte er Buches „How they do it. Freejazz, Improvisation und Niemandsmusik“. Als Betreiber des Plattenlabels Grob produziert Klopotek die Größen der Improvisationsmusik.
 
Konzert: Institut für Feinmotorik
 
 
Samstag, 17. Juli
Beginn der Podiumsdiskussion 19:00 Uhr
Konzert: ca. 21:00 Uhr
 
Die Veranstaltung findet in englischer Sprache statt.

Muße, Spaß und Machtspiel: die Geschichte der Musik
 
Achim Wollscheid
Ted Geier
Lars Becker, Peter Pawlicki
Thomas Mahmoud
 
Die offene Nutzung der Musik als Instrument (mikro-)politischer Macht wurde scheinbar von subtileren Formen der Musik als einer Möglichkeit, soziale Spannungen zu dämpfen, verdrängt. Obwohl dies die Möglichkeit zur Überwindung der Verwertungslogik nicht ausschließt, macht es doch die zu überschreitenden Grenzen weniger sichtbar.
 
Achim Wollscheid ist Medienkünstler, der sich in seinen Arbeiten seit 20 Jahren mit Klang, Licht, Raum und deren Schnittstellen beschäftigt.
Ted Gaier ist ein deutscher Musiker, Regisseur und Darsteller. Ted Gaier ist Gründungsmitglied und bis heute Texter, Bassist, Gitarrist und Keyboarder der Goldenen Zitronen, einer Hamburger Band.
 Konzert: Achim Wollscheid; Workshopband

"THE END-OF-YEAR PROGRAMME"

DIE STÄDELSCHULE ARCHITECTURE CLASS PRÄSENTIERT:
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010


ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN

Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation

Weitere Programmpunkte:

Donnerstag, 08.07. - 18:15

Verleihung des Günter Bock Preises.

Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.

Donnerstag, 08.07. - 18:30

DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS

Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten

Donnerstag, 08.07. - 16:30

Ausstellungseröffnung

THE SYNTHESIS OF NATURE AND ARCHITECTURE
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’

LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC
LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE

Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.


Die Ausstellung untergliedert sich in drei Teile:

VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.

SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.

OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.

Ewa Lajer Burcharth: Paint and Person in Chardin

Vortrag
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.

Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.

Ei Arakawa

Vortrag
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.

Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.

Achim Menges

The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).

In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.

Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.

Bassam el Baroni

Vortrag
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.

Aleksandra Mir

Vortrag
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info

Adam Caruso

the Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.

Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.

Jimmie Durham

Vortrag
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.

Ingo Niermann

The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010

Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).

Hal Foster

Johann Friedrich Städel Lecture 2010
Eine Veranstaltung des Instituts für Kunstkritik

Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.

Antek Walczak

Vortrag
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”

Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.

Clémentine Deliss

Vortrag
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info


BONNIE CAMPLIN

Vortrag
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.

Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.

more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/


Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:

Catherine Wood:

Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?

Bonnie Camplin:

I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.


CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?

BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.

CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.

BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.

CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.

BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.

CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?


Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.


CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?

When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.

You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?

I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).

STÄDELSCHULE VORTRÄGE / LECTURES Summer 2010

TRISHA DONNELLY

Vortrag
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris

FLORIAN PUMHÖSL

Vortrag
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.

MARION VON OSTEN

Vortrag
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too. 
The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.

Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).

Mathias Poledna

Vortrag
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.

Mike Bouchet

Vortrag
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.

The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.

Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).

SPACE AND TIME IN ARCHITECTURE AND EXHIBITIONS

The Architecture Class presents:

Public Panel Discussion: "Space and Time in Architecture and Exhibitions"
Monday, 25th January, 18h, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

The modern notions of time and space in architecture are defined in terms of mutual dependency through an unresolved, dialectical hierarchy. One is supposed to follow the other and in this manner make the other legible. However, this relation of intelligibility is problematic since we construe space from systems of projection that far exceed the extensions give in Euclidean space, and the flow and experience of time can be reduced neither to a discrete nor a continueous condition. Nowhere is this unresolved relation between time and space more clear than in exhibitions - whether in art or architecture. These events use narratives and compositional adjacency relations in spatial terms to propose temporally defined relations.


*Jeffrey Kipnis*

Jeffrey Kipnis, currently a professor at Knowlton School of Architecture, Ohio State University and a visiting professor at Harvard, Colombia and Angewandte Kunst, Vienna is a world renowned architectural critic, educator and author. His work attempts to define and correlate the intellectual, cultural and political role of contemporary architecture – ranging from his writing which include:/ Toward a New Architecture/, /Twisting the Separatrix/ and /Political Space I/, to studies on 20^th century key figures such as Philip Johnson, Peter Eisenman, Rem Koolhaas and Daniel Libeskind, to various exhibitions on architectural drawing and design and his award-winning film on the work of Frank Gehry.

*Ben van Berkel*

Ben van Berkel is the Dean of the Städelschule Architecture Class and the co-founder of UNStudio. He has co-authored a number of books and essays and has been a visiting lecturer at Princeton, Columbia University, Harvard, the Berlage Institute and UCLA. Central to his work is an interest in the integration of construction and architecture. Recent projects include the Mercedes-Benz Museum in Stuttgart; the restructuring of the station area of Arnhem, The New Amsterdam Plein & Pavilion in Battery Park New York, the MUMUTH Music Theatre in Graz and the Raffles City development in Hangzhou, China.

*Johan Bettum*

Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class. He has also taught at the AA, UCLA, the Berlage Institute, Innsbruck University, the EPFL in Lausanne and Oslo School of Architecture. Bettum has a PhD in fibre-reinforced material systems entitled /The Material Geometry of Fibre-Reinforced Polymer Matrix Composites and Architectural Tectonics./ He has written for a number of prominent publications while his work is repeatedly published in Graz Architecture Magazine, Domus and Architecture Design (AD) to name but a few. His practice, ArchiGlobe, focuses on architecture within the context of research and experiments.

*Nikolaus Hirsch*

Nikolaus Hirsch is a Stiftungsprofessor at the Städelschule who has hold academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition architectures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel), “Frequencies-Hz” at Schirn Kunsthalle and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.

Rundgang 2010

Jahresausstellung der Studierenden der
Städelschule

Eröffnung mit Preisverleihung: Freitag, 12. Februar 2010, 18 Uhr, Dürerstrasse 10
Party: ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2010
Öffnungszeiten: 10 – 20 Uhr
Shuttlebus zwischen Dürer- und Daimlerstraße am Wochenende ab 11Uhr stündlich.
Eintritt Frei!

Mit freundlicher Unterstützung von:

Städelschule Portikus e.V.
Hans und Stefan Bernbeck-Stiftung
Lohr & Schach
Delbrück Bethmann Maffei ABN AMRO AG
Linklaters LLP
Haus & Grund Deutschland
Landwirtschaftliche Rentenbank
Frankfurter Verein für Künstlerhilfe e.V.
Ernst & Young GmbH
Albig-Stiftung






Agassi F. Bangura & Claus Rasmussen
"African fitness Studio" Installation, verschiedene Materialien, 2009