Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 12. Dezember 2011
Beate Söntgen
Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 5. Dezember 2011
Judith Hopf
Vortrag
Judith Hopf: Some End of Things
Mittwoch, 7. Dezember 2011, 19 Uhr, Aula
Judith Hopf will talk about her recent series of works with the title: Some End of Things. Alongside her 'research' concerning Endings, Hopf will concentrate on keywords like: Exhaustion, Emancipation and Entrance in order to develop perspectives beyond the hopefully and finally found Ends.
"...The artist's recent work often returns to the idea of exhaustion. She frames this concept in Beckettian terms, considering the Janus-faced possibilities of speaking exhaustively and, conversely, the point at which meaning itself is exhausted. Are you exhausted because of the endless possibilities or because the possibilities have already been exhausted? Hopf's work suggests unexpected modes of resistance to what she has called 'the tyranny of the same'. …" Sam Thorne , Frieze Foundation, 2011
Judith Hopf´s 'Some Ends of Things' were recently exhibited at Galerie Croy/Nielsen, Berlin, Frieze Foundation London, Alex Zachery Gallery, New York and Galerie Andreas Huber, Wien. In 2011 she participated in various groupshows like 'Priority Moments', Herald Street, London, 'Traurige Tiere', Kunstverein Bonn and 'How to Work', Kunsthalle Basel.
Judith Hopf is professor at Städelschule since 2008.
Die Veranstaltung findet in englischer Sprache statt.
Judith Hopf: Some End of Things
Mittwoch, 7. Dezember 2011, 19 Uhr, Aula
Judith Hopf will talk about her recent series of works with the title: Some End of Things. Alongside her 'research' concerning Endings, Hopf will concentrate on keywords like: Exhaustion, Emancipation and Entrance in order to develop perspectives beyond the hopefully and finally found Ends.
"...The artist's recent work often returns to the idea of exhaustion. She frames this concept in Beckettian terms, considering the Janus-faced possibilities of speaking exhaustively and, conversely, the point at which meaning itself is exhausted. Are you exhausted because of the endless possibilities or because the possibilities have already been exhausted? Hopf's work suggests unexpected modes of resistance to what she has called 'the tyranny of the same'. …" Sam Thorne , Frieze Foundation, 2011
Judith Hopf´s 'Some Ends of Things' were recently exhibited at Galerie Croy/Nielsen, Berlin, Frieze Foundation London, Alex Zachery Gallery, New York and Galerie Andreas Huber, Wien. In 2011 she participated in various groupshows like 'Priority Moments', Herald Street, London, 'Traurige Tiere', Kunstverein Bonn and 'How to Work', Kunsthalle Basel.
Judith Hopf is professor at Städelschule since 2008.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 24. November 2011
Andrea Fraser
Vortrag
Montag, 28 November 2011, 19 Uhr, Aula
Andrea Fraser
Andrea Fraser’s work is an on-going investigation of what we want from art. She has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees and museum visitors, from the pursuit of prestige to financial investment to sexual fantasy to self-realization. Developing on site-specific and research-based practices that emerged with conceptualism, combined with feminist investigations of subjectivity and desire, her methods are rooted in the psychoanalytic principle that one can only impact structures and relationships in the immediate performance. She is Professor in the Department of Art at the University of California Los Department and is visiting faculty at the Whitney Independent Study Program.
Fraser will speak about her work and the challenge of conceiving any way to participate in the art field that do not seem completely bankrupt and compromised.
Montag, 28 November 2011, 19 Uhr, Aula
Andrea Fraser
Andrea Fraser’s work is an on-going investigation of what we want from art. She has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees and museum visitors, from the pursuit of prestige to financial investment to sexual fantasy to self-realization. Developing on site-specific and research-based practices that emerged with conceptualism, combined with feminist investigations of subjectivity and desire, her methods are rooted in the psychoanalytic principle that one can only impact structures and relationships in the immediate performance. She is Professor in the Department of Art at the University of California Los Department and is visiting faculty at the Whitney Independent Study Program.
Fraser will speak about her work and the challenge of conceiving any way to participate in the art field that do not seem completely bankrupt and compromised.
Martha Rosler
Vortrag
Martha Rosler
Freitag, 25. November 2011, 19 Uhr, Aula
Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.
Her work in numerous international solo- and group exhibitions such as the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in Documenta XII, SkulpturProjecte07 in Münster, "That's the way we do it", Kunsthaus Bregenz (2011), and the 12th Istanbul Biennial in 2011. A retrospective of her work, "Positions in the Life World," was shown in five European cities and at the International Center of Photography and the New Museum for Contemporary Art (both in New York).
Rosler has published ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life.
Martha Rosler
Freitag, 25. November 2011, 19 Uhr, Aula
Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.
Her work in numerous international solo- and group exhibitions such as the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in Documenta XII, SkulpturProjecte07 in Münster, "That's the way we do it", Kunsthaus Bregenz (2011), and the 12th Istanbul Biennial in 2011. A retrospective of her work, "Positions in the Life World," was shown in five European cities and at the International Center of Photography and the New Museum for Contemporary Art (both in New York).
Rosler has published ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life.
Donnerstag, 10. November 2011
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Vortrag
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Mittwoch, 16. November 2011, 19 Uhr, Aula
Fergus Henderson (born 1963) is an English chef who founded the St John restaurant in St John St, London. He is often noted for his use of offal and other neglected cuts of meat as a consequence of his philosophy of Nose To Tail Eating. Following in the footsteps of his parents, Brian and Elizabeth Henderson, he trained as an architect at the Architectural Association in London. Most of his dishes are derived from traditional British cuisine and the wines are all French.
Die Veranstaltung findet in englischer Sprache statt.
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Mittwoch, 16. November 2011, 19 Uhr, Aula
Fergus Henderson (born 1963) is an English chef who founded the St John restaurant in St John St, London. He is often noted for his use of offal and other neglected cuts of meat as a consequence of his philosophy of Nose To Tail Eating. Following in the footsteps of his parents, Brian and Elizabeth Henderson, he trained as an architect at the Architectural Association in London. Most of his dishes are derived from traditional British cuisine and the wines are all French.
Die Veranstaltung findet in englischer Sprache statt.
Ross Birrell / David Harding: You like this Garden?
Vortrag
Ross Birrell / David Harding: You like this Garden?
Dienstag 15. November 2011, 19 Uhr, Aula
Inviting his own professor from Glasgow, David Harding, to a three-man-show at the Portikus Douglas Gordon initiates his new professor ship at the Städelschule. For about ten years Harding has been collaborating with artist and tutor Ross Birell on poetic Videoworks. In this lecture Birell & Harding will talk about their long standing cooperation and they will reflect on the practice of creating film. There will be an emphasis on triggering the discussion of the coming exhibition at Portikus which will be opening two days later.
Die Veranstaltung findet in englischer Sprache statt.
Ross Birrell / David Harding: You like this Garden?
Dienstag 15. November 2011, 19 Uhr, Aula
Inviting his own professor from Glasgow, David Harding, to a three-man-show at the Portikus Douglas Gordon initiates his new professor ship at the Städelschule. For about ten years Harding has been collaborating with artist and tutor Ross Birell on poetic Videoworks. In this lecture Birell & Harding will talk about their long standing cooperation and they will reflect on the practice of creating film. There will be an emphasis on triggering the discussion of the coming exhibition at Portikus which will be opening two days later.
Die Veranstaltung findet in englischer Sprache statt.
Consume
Bar
Consume
Montag, 14. November 2011, 19 Uhr, Lichthalle
Consume is an improvised mobile bar that has no fixed time, location or staff. It may generally be found by word of mouth and operates primarily in the public space, sometimes tied into an art event and at other times by appropriating a part of the city for its own purposes.
The serial Consume bar was initiated in early November 1991 by three architecture students of the Frankfurt Städelschule, Jim Dudley, Christian Pantzer and Tony Hunt, primarily to provide a locus for interaction between the disciplines of art and architecture.
The hardware of the bar, standing as a metaphor for architecture, consists of a Bricolage of junk, essentially an old surfboard which is balanced on crates of beer. As the bar is mobile, at times even self-propelled, the locations become part of software along with the customers with their various alcoholic and musical lubrications.
The classical hierarchy of architecture in relation to its users and location, or Genius Loci, is turned around so that the ultimate shaper is no longer the architect but the throng of the customers themselves. This has been known to be rather unsettling, but we persist.
Christian Pantzer, *1962, Studium an der HfBK Städelschule-
Architekturklasse 1989 - 1993, lebt und arbeitet in Frankfurt.
Tony Hunt, *1964, Studium an der Univeristy of Brighton 1985 - 1988, UCL Bartlett School of Architecture London 1989-1991, HfBK Städelschule Architekturklasse 1991 - 1993, lebt und arbeitet in Frankfurt und London.
Daniel Kohl, *1967, Studium der Bildenden Kunst an der Cooper
Union in New York City 1986 - 1991 und an der HfBK Städelschule 1992 - 1997 bei Thomas Bayrle, lebt und arbeitet in Frankfurt.
James Dudley *1966, Born in Tooting South London. Studied at Bath University, Bartlett school of Architecture, University College London and Stadelschul Architekturklasse 1991-92. Lives and Works in Zurich as a creative director for spatial communication.
Consume
Montag, 14. November 2011, 19 Uhr, Lichthalle
Consume is an improvised mobile bar that has no fixed time, location or staff. It may generally be found by word of mouth and operates primarily in the public space, sometimes tied into an art event and at other times by appropriating a part of the city for its own purposes.
The serial Consume bar was initiated in early November 1991 by three architecture students of the Frankfurt Städelschule, Jim Dudley, Christian Pantzer and Tony Hunt, primarily to provide a locus for interaction between the disciplines of art and architecture.
The hardware of the bar, standing as a metaphor for architecture, consists of a Bricolage of junk, essentially an old surfboard which is balanced on crates of beer. As the bar is mobile, at times even self-propelled, the locations become part of software along with the customers with their various alcoholic and musical lubrications.
The classical hierarchy of architecture in relation to its users and location, or Genius Loci, is turned around so that the ultimate shaper is no longer the architect but the throng of the customers themselves. This has been known to be rather unsettling, but we persist.
Christian Pantzer, *1962, Studium an der HfBK Städelschule-
Architekturklasse 1989 - 1993, lebt und arbeitet in Frankfurt.
Tony Hunt, *1964, Studium an der Univeristy of Brighton 1985 - 1988, UCL Bartlett School of Architecture London 1989-1991, HfBK Städelschule Architekturklasse 1991 - 1993, lebt und arbeitet in Frankfurt und London.
Daniel Kohl, *1967, Studium der Bildenden Kunst an der Cooper
Union in New York City 1986 - 1991 und an der HfBK Städelschule 1992 - 1997 bei Thomas Bayrle, lebt und arbeitet in Frankfurt.
James Dudley *1966, Born in Tooting South London. Studied at Bath University, Bartlett school of Architecture, University College London and Stadelschul Architekturklasse 1991-92. Lives and Works in Zurich as a creative director for spatial communication.
Donnerstag, 27. Oktober 2011
TARYN SIMON
1. November 19 Uhr Aula
TARYN SIMON
A Living Man Declared Dead and Other Chapters, I – XVIII
Contraband
An American Index of the Hidden and Unfamiliar
The Innocents
Taryn Simon was born in 1975 in New York, where she lives and works. Her latest work, A Living Man Declared Dead and Other Chapters, on view in 2011 at Tate Modern, London, and Neue Nationalgalerie, Berlin, chronicles 18 bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. In 2011, Simon’s work was also included in the 54th Venice Biennale. Her previous work includes Contraband (2010), an image archive of items detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces integral to America’s foundation, mythology, or daily functioning but inaccessible or unknown to a public audience; and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice.
TARYN SIMON
A Living Man Declared Dead and Other Chapters, I – XVIII
Contraband
An American Index of the Hidden and Unfamiliar
The Innocents
Taryn Simon was born in 1975 in New York, where she lives and works. Her latest work, A Living Man Declared Dead and Other Chapters, on view in 2011 at Tate Modern, London, and Neue Nationalgalerie, Berlin, chronicles 18 bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. In 2011, Simon’s work was also included in the 54th Venice Biennale. Her previous work includes Contraband (2010), an image archive of items detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces integral to America’s foundation, mythology, or daily functioning but inaccessible or unknown to a public audience; and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice.
Montag, 24. Oktober 2011
Jalal Toufic
Vortrag
Jalal Toufic: The Withdrawal of Tradition Past a Surpassing Disaster
Dienstag, 25. Oktober 2011, 19h, Aula
With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. In normal times a nebulous entity despite the somewhat artificial process of canon-formation, tradition becomes delineated and specified by the surpassing disaster. Tradition is what conjointly materially survived the surpassing disaster, was immaterially withdrawn by it, and had the fortune of being subsequently resurrected by artists, writers, and thinkers.
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. Many of his books, most of which were published by Forthcoming Books, are available for download as PDF files at his website: http://www.jalaltoufic.com. He is presently a guest for the year 2011 of the Artists-in-Berlin Program of the DAAD.
This lecture is on the occasion of the publication of the German translation of Toufic’s book The Withdrawal of Tradition Past a Surpassing Disaster (Forthcoming Books, 2009) by August Verlag last month.
Jalal Toufic: The Withdrawal of Tradition Past a Surpassing Disaster
Dienstag, 25. Oktober 2011, 19h, Aula
With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. In normal times a nebulous entity despite the somewhat artificial process of canon-formation, tradition becomes delineated and specified by the surpassing disaster. Tradition is what conjointly materially survived the surpassing disaster, was immaterially withdrawn by it, and had the fortune of being subsequently resurrected by artists, writers, and thinkers.
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. Many of his books, most of which were published by Forthcoming Books, are available for download as PDF files at his website: http://www.jalaltoufic.com. He is presently a guest for the year 2011 of the Artists-in-Berlin Program of the DAAD.
This lecture is on the occasion of the publication of the German translation of Toufic’s book The Withdrawal of Tradition Past a Surpassing Disaster (Forthcoming Books, 2009) by August Verlag last month.
Mittwoch, 12. Oktober 2011
Mark von Schlegell
Lesung
Mark von Schlegell: Beyond the paperback revolution (Jack Vance)
Freitag, 14. Oktober 2011, 19h, Aula
In Kooperation mit Merve Verlag
In the forthcoming Dreaming the Mainstream: Critical Fictions of U.S. Power (Merve Verlag, Berlin) Mark von Schlegell reads Emily Dickinson, Patricia Highsmith, H.P. Lovecraft, Philip K. Dick and others as vanguard agents of the 20th Century paperback revolution. This lecture will shine light on the relatively unknown career of the contemporary U.S. science fiction "grand-master" Jack Vance to speculate on the paperback revolution's history and possible survival in the current crisis of 21st century publishing and the anarchy beyond.
Mark von Schlegell is born in 1967 in New York and lives in Cologne. He is an American science fiction writer and cultural critic. His numerous essays have appeared in magazines such as: "Parkett", "Arttext" and "Flash Art". His most recently published books are “Mercury Station” (2009, Semiotext(e)) and “New Dystopia” (2011, Sternberg Press); and – in German – the essay “Realometer” (2009, Merve) and the sci-fi novel “High Wichita” (2011, Matthes&Seitz).
Since 2011 he is Guest Professor at the Städelschule.
Mark von Schlegell: Beyond the paperback revolution (Jack Vance)
Freitag, 14. Oktober 2011, 19h, Aula
In Kooperation mit Merve Verlag
In the forthcoming Dreaming the Mainstream: Critical Fictions of U.S. Power (Merve Verlag, Berlin) Mark von Schlegell reads Emily Dickinson, Patricia Highsmith, H.P. Lovecraft, Philip K. Dick and others as vanguard agents of the 20th Century paperback revolution. This lecture will shine light on the relatively unknown career of the contemporary U.S. science fiction "grand-master" Jack Vance to speculate on the paperback revolution's history and possible survival in the current crisis of 21st century publishing and the anarchy beyond.
Mark von Schlegell is born in 1967 in New York and lives in Cologne. He is an American science fiction writer and cultural critic. His numerous essays have appeared in magazines such as: "Parkett", "Arttext" and "Flash Art". His most recently published books are “Mercury Station” (2009, Semiotext(e)) and “New Dystopia” (2011, Sternberg Press); and – in German – the essay “Realometer” (2009, Merve) and the sci-fi novel “High Wichita” (2011, Matthes&Seitz).
Since 2011 he is Guest Professor at the Städelschule.
Dienstag, 20. September 2011
ENCORE
"ENCORE"
Abschlussausstellung der Absolventinnen und Absolventen 2011 der Staatlichen Hochschule für Bildende Künste - Städelschule im MMK ZOLLAMT.
Eröffnung: Dienstag, 27. September 2011 um 19.30 Uhr im MMK Zollamt
Ausstellungsdauer: 28. September bis zum 23. Oktober 2011
Zur Eröffnung sprechen: Prof. Nikolaus Hirsch und Dr. Susanne Gaensheimer
Zum dritten Mal präsentieren die Absolventen der Staatlichen Hochschule für Bildende Künste – Städelschule ihre Abschlussarbeiten im MMK Zollamt. Die Kooperation unterstreicht die enge Verbundenheit der international profilierten Städelschule mit dem MMK und gibt den
Besuchern einen Einblick in das große künstlerische Potential der Region. Die Ausstellung zeigt die jüngsten Produktionen von 30 Künstlern aus den Klassen von Judith Hopf, Christa Näher, Willem de Rooij, Douglas Gordon, Michael Krebber, Simon Starling und Tobias Rehberger.
Zu sehen sind Arbeiten von:
Patrick Alt, Agassi Bangura, Andrea Bellu, Viola Bittl, Lukas Bohnenstengel, Alfred Boman, Max Brand, Carolin Bühler, Milena Büsch, Annabell Chin, Murray Gaylard, Giorgio Giusti, Dominik Gohla, Sandra Havlicek, Jonas Jensen, Danny Kerschen, Yasuaki Kitagawa, Daniela Kneip Velescu, Annina Matter, Ruairiadh O'Connell, Sabine Rak, Marcel Schiele, Sarah Schoderer, Dan Starling, Beatrice Steimer, Tomislav S. Vukic, Jonas Weichsel, Paul Wiersbinski, Leo Wörner, Naneci Yurdagül, Silja Yvette
aus den Klassen von Christa Näher, Judith Hopf, Willem de Rooij, Michael Krebber, Douglas Gordon, Simon Starling und Tobias Rehberger.
Kurator: Bernd Reiss
Zur Ausstellung wird ein Katalog erscheinen.
Diese Ausstellung wird großzügig unterstützt von
ALLEN & OVERY LLP und STÄDELSCHULE PORTIKUS E.V.
Tradition ist die Verleihung des vom Verein Städelschule Portikus e.V. gestifteten Absolventenpreises, dotiert mit 2000 Euro.
Die Jury, der jedes Jahr andere Mitglieder angehören, setzte sich bei der diesjährigen Absolventenausstellung wie folgt zusammen:
Dr. Claudia Orben-Mäckler (Städelschule Portikus e.V.)
Dr. Susanne Gaensheimer (Direktorin MMK)
Willem de Rooij (Professor für freie Kunst, Städelschule)
Die PreisträgerInnen werden am 27.09. um 19:30 zur Eröffnung der Ausstellung bekanntgegeben.
Abschlussausstellung der Absolventinnen und Absolventen 2011 der Staatlichen Hochschule für Bildende Künste - Städelschule im MMK ZOLLAMT.
Eröffnung: Dienstag, 27. September 2011 um 19.30 Uhr im MMK Zollamt
Ausstellungsdauer: 28. September bis zum 23. Oktober 2011
Zur Eröffnung sprechen: Prof. Nikolaus Hirsch und Dr. Susanne Gaensheimer
Zum dritten Mal präsentieren die Absolventen der Staatlichen Hochschule für Bildende Künste – Städelschule ihre Abschlussarbeiten im MMK Zollamt. Die Kooperation unterstreicht die enge Verbundenheit der international profilierten Städelschule mit dem MMK und gibt den
Besuchern einen Einblick in das große künstlerische Potential der Region. Die Ausstellung zeigt die jüngsten Produktionen von 30 Künstlern aus den Klassen von Judith Hopf, Christa Näher, Willem de Rooij, Douglas Gordon, Michael Krebber, Simon Starling und Tobias Rehberger.
Zu sehen sind Arbeiten von:
Patrick Alt, Agassi Bangura, Andrea Bellu, Viola Bittl, Lukas Bohnenstengel, Alfred Boman, Max Brand, Carolin Bühler, Milena Büsch, Annabell Chin, Murray Gaylard, Giorgio Giusti, Dominik Gohla, Sandra Havlicek, Jonas Jensen, Danny Kerschen, Yasuaki Kitagawa, Daniela Kneip Velescu, Annina Matter, Ruairiadh O'Connell, Sabine Rak, Marcel Schiele, Sarah Schoderer, Dan Starling, Beatrice Steimer, Tomislav S. Vukic, Jonas Weichsel, Paul Wiersbinski, Leo Wörner, Naneci Yurdagül, Silja Yvette
aus den Klassen von Christa Näher, Judith Hopf, Willem de Rooij, Michael Krebber, Douglas Gordon, Simon Starling und Tobias Rehberger.
Kurator: Bernd Reiss
Zur Ausstellung wird ein Katalog erscheinen.
Diese Ausstellung wird großzügig unterstützt von
ALLEN & OVERY LLP und STÄDELSCHULE PORTIKUS E.V.
Tradition ist die Verleihung des vom Verein Städelschule Portikus e.V. gestifteten Absolventenpreises, dotiert mit 2000 Euro.
Die Jury, der jedes Jahr andere Mitglieder angehören, setzte sich bei der diesjährigen Absolventenausstellung wie folgt zusammen:
Dr. Claudia Orben-Mäckler (Städelschule Portikus e.V.)
Dr. Susanne Gaensheimer (Direktorin MMK)
Willem de Rooij (Professor für freie Kunst, Städelschule)
Die PreisträgerInnen werden am 27.09. um 19:30 zur Eröffnung der Ausstellung bekanntgegeben.
Montag, 18. Juli 2011
Flaca / Tom Humphreys
Flaca / Tom Humphreys
9. Juli – 11. September 2011
Eröffnung: 8. Juli 2011, 20 Uhr Pressegespräch: 8. Juli 2011, 11 Uhr
Der Künstler Tom Humphreys präsentiert im Portikus eine Gruppen- ausstellung, die auf sehr persönliche Weise den Ausstellungsraum Flaca aufgreift, den er in seinem Londoner Wohnhaus von 2003 bis 2007 organisierte, sowie seine eigene künstlerische Position innerhalb dieser Struktur reflektiert. Die Ausstellung Flaca / Tom Humphreys knüpft an die Tradition des Portikus an, die Ausstellungshalle immer wieder neu herauszufordern, zu testen und zu interpretieren. Im Anschluss an die vorherige Ausstellung Time/Bank, bei der das Haus in eine alternative „Bank“ umgewandelt wurde, folgt nun eine neue Umformung: Im Kontrast zur infrastrukturellen Formensprache einer Bank spielt diese Ausstellung auf Vertrautheit und die Initmität des bewohnten Raums an.
Flaca entzieht sich einer einfachen, linearen Beschreibung – allein schon deswegen, weil dort über vierzig Künstler in unterschiedlichsten Konstellationen ausgestellt haben. Das Programm wie auch die einzelnen Ausstellungen entwickelte Tom Humphreys in engem Austausch mit den eingeladenen Künstlern. Dies führte dazu, dass jedes Ausstellungsprojekt seine ganz eigene Besonderheit hatte. Christian Egger schreibt in seinem Katalogtext zur Ausstellung: „Das Ausstellen dort bedeutete oft das Frisch-Sehen-Können der ersten Londoner Einzelausstellungen von eben noch in Flaca angetroffenen Künstlerinnen, und das war tatsächlich alles wirklich aufregend, als ginge es einem selbst ein bisschen wie dem eigenen mitgebrachten Mobiltelefon beim ersten schreckenden Aufladen mit Insel-Strom, irgendwie anders energetisiert – mit Ausfällen flirtend“.
Die Auseinandersetzung mit der Vergangenheit des Ortes Flaca hat Tom Humphreys dazu bewegt, für den Portikus eine Ausstellung zu entwickeln, die in keinster Weise Ansprüche auf eine anschauliche oder historisch korrekte Repräsentation seiner damaligen Tätigkeit stellt, sondern vielmehr zu einer verzerrten Doppelung in der Gegenwart wird. Tom Humphreys hinterfragt die Aktivität dieser Zeit. So haben zum Beispiel einige der eingeladenen Künstler dieser Ausstellung nie bei Flaca ausgestellt. Daneben werden „Originale“, wie die von Michael Beutler und Henning Bohl für Flaca produzierten Werke, mit neueren und eigens für die Ausstellung entwickelten Arbeiten kombiniert, wie etwa Nora Schultz’ Wandstruktur, die ihr selbst als Druckwerkzeug und zugleich der Ausstellung als Hängefläche dient. Die Umgestaltung des Raums durch ein neu eingezogenes Stockwerk und die Einbindung von ungewöhnlichen Ausstellungsorten wie Garten und Treppenhaus, sind Mittel, die den vorgegebenen Raum in Frage stellen und neu interpretieren. Im Rahmen dieser zeitlichen und räumlichen Hybridisierung zwischen Portikus und Flaca wird die Ausstellungsinstitution auf der Maininsel in das Haus am Broadway Market eingeschrieben und umgekehrt.
Tom Humphreys selbst hat für die Ausstellung eine Arbeit produziert, die das Format des Portikusplakats, ein von jedem ausstellenden Künstler individuell entworfenes Poster, aufnimmt. Anstelle eines repräsentativen
Ausstellungsplakats entwarf und produzierte Tom Humphreys eine Serie mit Titeln wie FLACA / PORTIKUS, HOUSE ARREST, REBOUND (2005), und REPRODUCTION und platziert sie im Treppenhaus – dort, wo üblicherweise die Plakate vergangener Portikus-Ausstellungen hängen. Er schafft sich somit einen Platz, der auch bei Flaca kennzeichnend für ihn war: an der Schnittstelle zwischen Gastgeber, Ausstellungsproduzent und Künstler. Tom Humphreys weist mit der Einladung an die Künstler und der Zusammenstellung der Werke einerseits auf eine gemeinsame künstlerische Haltung hin, andererseits versucht er jegliche thematische und formale Klammern zu vermeiden. Das Resultat ist ein organisches Gebilde, das zwar Geschichte erzählt, zugleich aber einen Raum für endlose und unauflösbare Implikationen künstlerischer Arbeit eröffnet.
Mit Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins und Alexander Wolff
Zur Ausstellung wird eine Publikation veröffentlicht. Tom Humphreys hat für den Portikus eine Edition entworfen.
Für weitere Informationen oder Führungen zur Ausstellung wenden Sie sich bitte an info@portikus.de oder melden Sie sich telefonisch unter 069-9624454-0
Der Kulturfonds Frankfurt RheinMain ermöglicht die Ausstellung Flaca / Tom Humphreys, die Teil des mehrjährig angelegten Projektes Art & Life der Staatlichen Hochschule für Bildende Künste – Städelschule ist. Weltweit führende Vertreter aus Kunst, Architektur und Wissenschaft entwickeln hier einen Ansatz, der Kunst und Leben strukturell aufeinander bezieht. Art & Life wird vom Kulturfonds Frankfurt RheinMain seit Oktober 2010 und bis 2013 finanziell getragen.
9. Juli – 11. September 2011
Eröffnung: 8. Juli 2011, 20 Uhr Pressegespräch: 8. Juli 2011, 11 Uhr
Der Künstler Tom Humphreys präsentiert im Portikus eine Gruppen- ausstellung, die auf sehr persönliche Weise den Ausstellungsraum Flaca aufgreift, den er in seinem Londoner Wohnhaus von 2003 bis 2007 organisierte, sowie seine eigene künstlerische Position innerhalb dieser Struktur reflektiert. Die Ausstellung Flaca / Tom Humphreys knüpft an die Tradition des Portikus an, die Ausstellungshalle immer wieder neu herauszufordern, zu testen und zu interpretieren. Im Anschluss an die vorherige Ausstellung Time/Bank, bei der das Haus in eine alternative „Bank“ umgewandelt wurde, folgt nun eine neue Umformung: Im Kontrast zur infrastrukturellen Formensprache einer Bank spielt diese Ausstellung auf Vertrautheit und die Initmität des bewohnten Raums an.
Flaca entzieht sich einer einfachen, linearen Beschreibung – allein schon deswegen, weil dort über vierzig Künstler in unterschiedlichsten Konstellationen ausgestellt haben. Das Programm wie auch die einzelnen Ausstellungen entwickelte Tom Humphreys in engem Austausch mit den eingeladenen Künstlern. Dies führte dazu, dass jedes Ausstellungsprojekt seine ganz eigene Besonderheit hatte. Christian Egger schreibt in seinem Katalogtext zur Ausstellung: „Das Ausstellen dort bedeutete oft das Frisch-Sehen-Können der ersten Londoner Einzelausstellungen von eben noch in Flaca angetroffenen Künstlerinnen, und das war tatsächlich alles wirklich aufregend, als ginge es einem selbst ein bisschen wie dem eigenen mitgebrachten Mobiltelefon beim ersten schreckenden Aufladen mit Insel-Strom, irgendwie anders energetisiert – mit Ausfällen flirtend“.
Die Auseinandersetzung mit der Vergangenheit des Ortes Flaca hat Tom Humphreys dazu bewegt, für den Portikus eine Ausstellung zu entwickeln, die in keinster Weise Ansprüche auf eine anschauliche oder historisch korrekte Repräsentation seiner damaligen Tätigkeit stellt, sondern vielmehr zu einer verzerrten Doppelung in der Gegenwart wird. Tom Humphreys hinterfragt die Aktivität dieser Zeit. So haben zum Beispiel einige der eingeladenen Künstler dieser Ausstellung nie bei Flaca ausgestellt. Daneben werden „Originale“, wie die von Michael Beutler und Henning Bohl für Flaca produzierten Werke, mit neueren und eigens für die Ausstellung entwickelten Arbeiten kombiniert, wie etwa Nora Schultz’ Wandstruktur, die ihr selbst als Druckwerkzeug und zugleich der Ausstellung als Hängefläche dient. Die Umgestaltung des Raums durch ein neu eingezogenes Stockwerk und die Einbindung von ungewöhnlichen Ausstellungsorten wie Garten und Treppenhaus, sind Mittel, die den vorgegebenen Raum in Frage stellen und neu interpretieren. Im Rahmen dieser zeitlichen und räumlichen Hybridisierung zwischen Portikus und Flaca wird die Ausstellungsinstitution auf der Maininsel in das Haus am Broadway Market eingeschrieben und umgekehrt.
Tom Humphreys selbst hat für die Ausstellung eine Arbeit produziert, die das Format des Portikusplakats, ein von jedem ausstellenden Künstler individuell entworfenes Poster, aufnimmt. Anstelle eines repräsentativen
Ausstellungsplakats entwarf und produzierte Tom Humphreys eine Serie mit Titeln wie FLACA / PORTIKUS, HOUSE ARREST, REBOUND (2005), und REPRODUCTION und platziert sie im Treppenhaus – dort, wo üblicherweise die Plakate vergangener Portikus-Ausstellungen hängen. Er schafft sich somit einen Platz, der auch bei Flaca kennzeichnend für ihn war: an der Schnittstelle zwischen Gastgeber, Ausstellungsproduzent und Künstler. Tom Humphreys weist mit der Einladung an die Künstler und der Zusammenstellung der Werke einerseits auf eine gemeinsame künstlerische Haltung hin, andererseits versucht er jegliche thematische und formale Klammern zu vermeiden. Das Resultat ist ein organisches Gebilde, das zwar Geschichte erzählt, zugleich aber einen Raum für endlose und unauflösbare Implikationen künstlerischer Arbeit eröffnet.
Mit Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins und Alexander Wolff
Zur Ausstellung wird eine Publikation veröffentlicht. Tom Humphreys hat für den Portikus eine Edition entworfen.
Für weitere Informationen oder Führungen zur Ausstellung wenden Sie sich bitte an info@portikus.de oder melden Sie sich telefonisch unter 069-9624454-0
Der Kulturfonds Frankfurt RheinMain ermöglicht die Ausstellung Flaca / Tom Humphreys, die Teil des mehrjährig angelegten Projektes Art & Life der Staatlichen Hochschule für Bildende Künste – Städelschule ist. Weltweit führende Vertreter aus Kunst, Architektur und Wissenschaft entwickeln hier einen Ansatz, der Kunst und Leben strukturell aufeinander bezieht. Art & Life wird vom Kulturfonds Frankfurt RheinMain seit Oktober 2010 und bis 2013 finanziell getragen.
Montag, 27. Juni 2011
SIMON STARLING
Vortrag
Simon Starling - Noh such Thing as Time
Mittwoch, 6. Juli 2011, 19 Uhr, Aula
Taking its title from a essay by the Japanese photographer Hiroshi Sugimoto that investigates the relationship between photography, time and the tradition of masked Japanese Noh theatre, this talk will be based around two of Simon Starling’s recent exhibitions that redeploy the work of other artists. The first, Never the Same River (Possible Futures, Probable Pasts) realised at Camden Art Centre existed somewhere between an artist selected group show and a gesamtkunstwerk and involved reinstalling works shown at Camden over the last 50 years. All these works, that themselves “worry at the borders of our understanding of time”, were repositioned in the exact same spot they had occupied the first time they were shown, creating an unsettling polyphonic or at times cacophonic temporal experience temporal. The second exhibition, Project for a Masquerade (Hiroshima), uses the temporally complex space of Noh theatre, a space in which the ghosts assume human form, the old become young and the young old, as a structure to investigate the complex history of Henry Moore’s sculpture Atom Piece (1964-65). This simple domed form on a rough-hewn tripod has a bizarre double life both as a monument to the beginnings of the atom bomb project in Chicago, Enrico Fermi’s Pile No. 1, and simultaneously as an autonomous work within the context of the collection of the Hiroshima City Museum of Contemporary Art..
SIMON STARLING is born in 1967 in Epsom, UK. In 1977 he buys one second of one minute of one hour in a raffle and wins his first camera. In 1980 he builds his first home-darkroom and in 1992 he is awarded a Master of Fine Arts at Glasgow School of Art. Between 1993 and 1996 he serves as committee member at Transmission Gallery, Glasgow. In 1995 he makes his first solo exhibition at the Showroom Gallery, London for which he reconstructs part of the London exhibition space in Glasgow to use as a studio [An Eichbaum Pils Beer Can…]. In1997 he builds a small fishing boat in Marseille from a museum display case from the National Museum of Scotland, Edinburgh [Blue Boat Black] and makes a chair out of a bicycle and a bicycle out of a chair [Work, Made-ready, Kunsthalle Bern]. In 1998, following a trip to Ecuador to find a balsa tree, he flies a radio-controlled airplane over the Museum of Modern Art at Heidi, Melbourne [Le Jardin Suspendu]. In August 2002 he digs up a large Cereus cactus on the set of the ‘Texas Hollywood Film Studio’ and transports it 2,145 km to Frankfurt am Main, Germany in a red Volvo 240 Estate [Kakteenhaus]. In 2003 he displays an unwanted public artwork in the Palazzo Levi on the Grand Canal as part of Zenomap, Scotland’s contribution to the Venice Biennale [Island for Weeds, Prototype] and starts work as Professor of Fine Arts at the Staedelschule, Frankfurt. In 2004 he is shortlisted for the Hugo Boss Prize and in the following year wins the Turner Prize. In 2008 he makes exhibitions in among other places, a derelict bathhouse in Glasgow, Scotland [Project for a Public Sculpture (After Thomas Annan)], a semi-derelict factory in Dornbirn, Austria [Plant Room] and a fantastically narrow, seven story house in Turin, Italy known as the ‘Fetta di Polenta’ (Slice of Polenta)[Three Birds, Seven Stories, Interpolations and Bifurcations]. In 2011 Starling reinstalls over 30 works from Camden Art Centre’s exhibition history in the exact same place they were originally shown [Never the Same River (Possible Futures, Probable Pasts)] and collapses a 16th century Japanese Noh play onto the complex story surrounding the double life of Henry Moore’s sculpture ‘Atom Piece’ [Project for a Masquerade (Hiroshima)].
Simon Starling - Noh such Thing as Time
Mittwoch, 6. Juli 2011, 19 Uhr, Aula
Taking its title from a essay by the Japanese photographer Hiroshi Sugimoto that investigates the relationship between photography, time and the tradition of masked Japanese Noh theatre, this talk will be based around two of Simon Starling’s recent exhibitions that redeploy the work of other artists. The first, Never the Same River (Possible Futures, Probable Pasts) realised at Camden Art Centre existed somewhere between an artist selected group show and a gesamtkunstwerk and involved reinstalling works shown at Camden over the last 50 years. All these works, that themselves “worry at the borders of our understanding of time”, were repositioned in the exact same spot they had occupied the first time they were shown, creating an unsettling polyphonic or at times cacophonic temporal experience temporal. The second exhibition, Project for a Masquerade (Hiroshima), uses the temporally complex space of Noh theatre, a space in which the ghosts assume human form, the old become young and the young old, as a structure to investigate the complex history of Henry Moore’s sculpture Atom Piece (1964-65). This simple domed form on a rough-hewn tripod has a bizarre double life both as a monument to the beginnings of the atom bomb project in Chicago, Enrico Fermi’s Pile No. 1, and simultaneously as an autonomous work within the context of the collection of the Hiroshima City Museum of Contemporary Art..
SIMON STARLING is born in 1967 in Epsom, UK. In 1977 he buys one second of one minute of one hour in a raffle and wins his first camera. In 1980 he builds his first home-darkroom and in 1992 he is awarded a Master of Fine Arts at Glasgow School of Art. Between 1993 and 1996 he serves as committee member at Transmission Gallery, Glasgow. In 1995 he makes his first solo exhibition at the Showroom Gallery, London for which he reconstructs part of the London exhibition space in Glasgow to use as a studio [An Eichbaum Pils Beer Can…]. In1997 he builds a small fishing boat in Marseille from a museum display case from the National Museum of Scotland, Edinburgh [Blue Boat Black] and makes a chair out of a bicycle and a bicycle out of a chair [Work, Made-ready, Kunsthalle Bern]. In 1998, following a trip to Ecuador to find a balsa tree, he flies a radio-controlled airplane over the Museum of Modern Art at Heidi, Melbourne [Le Jardin Suspendu]. In August 2002 he digs up a large Cereus cactus on the set of the ‘Texas Hollywood Film Studio’ and transports it 2,145 km to Frankfurt am Main, Germany in a red Volvo 240 Estate [Kakteenhaus]. In 2003 he displays an unwanted public artwork in the Palazzo Levi on the Grand Canal as part of Zenomap, Scotland’s contribution to the Venice Biennale [Island for Weeds, Prototype] and starts work as Professor of Fine Arts at the Staedelschule, Frankfurt. In 2004 he is shortlisted for the Hugo Boss Prize and in the following year wins the Turner Prize. In 2008 he makes exhibitions in among other places, a derelict bathhouse in Glasgow, Scotland [Project for a Public Sculpture (After Thomas Annan)], a semi-derelict factory in Dornbirn, Austria [Plant Room] and a fantastically narrow, seven story house in Turin, Italy known as the ‘Fetta di Polenta’ (Slice of Polenta)[Three Birds, Seven Stories, Interpolations and Bifurcations]. In 2011 Starling reinstalls over 30 works from Camden Art Centre’s exhibition history in the exact same place they were originally shown [Never the Same River (Possible Futures, Probable Pasts)] and collapses a 16th century Japanese Noh play onto the complex story surrounding the double life of Henry Moore’s sculpture ‘Atom Piece’ [Project for a Masquerade (Hiroshima)].
Donnerstag, 23. Juni 2011
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
Konferenz
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
Freitag, 1. Juli 2011, 15-21 Uhr, Lichthof
Initiiert vom Institut für Kunstkritik (Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch)
Many art works today evoke the human figure: Consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This conference seeks to speculate on the reasons as to why, since the turn of the Millennium, we have encountered so many art works that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi´s theory of semiocapitalism – a power technology that aims squarely at our human resources. The participants of this conference are asked to offer possible explanations for this wide acceptance of anthropomorphism – could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
Participants: Hal Foster, Caroline Busta, Michael Sanchez, Ina Blom, Jutta Koether
Respondents: Stefan Deines, Stefanie Heraeus, Magdalena Nieslony, Oliver Brokel
Art and Subjecthood
The Return of the Human Figure in Semiocapitalism
3 pm Welcome (Nikolaus Hirsch)
3.30 pm Introduction Isabelle Graw "When Objecthood turns into Subjecthood"
4 pm Hal Foster "Philosophical Toys & Psychoanalytical Travesties: Dolls, Puppets & Mannequins in the 1920s"
5 pm Caroline Busta “Body Doubles“
6 pm Michael Sanchez “Behavioral: Some Thoughts on Art Under Network Capitalism“
7 pm Ina Blom "Media Animism. Rachel Harrison's Living Images"
8 pm Jutta Koether „Mad Garlands”
The conference is part of the project „Art and Life“ and made possible by Kulturfonds Frankfurt RheinMain
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
Freitag, 1. Juli 2011, 15-21 Uhr, Lichthof
Initiiert vom Institut für Kunstkritik (Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch)
Many art works today evoke the human figure: Consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This conference seeks to speculate on the reasons as to why, since the turn of the Millennium, we have encountered so many art works that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi´s theory of semiocapitalism – a power technology that aims squarely at our human resources. The participants of this conference are asked to offer possible explanations for this wide acceptance of anthropomorphism – could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
Participants: Hal Foster, Caroline Busta, Michael Sanchez, Ina Blom, Jutta Koether
Respondents: Stefan Deines, Stefanie Heraeus, Magdalena Nieslony, Oliver Brokel
Art and Subjecthood
The Return of the Human Figure in Semiocapitalism
3 pm Welcome (Nikolaus Hirsch)
3.30 pm Introduction Isabelle Graw "When Objecthood turns into Subjecthood"
4 pm Hal Foster "Philosophical Toys & Psychoanalytical Travesties: Dolls, Puppets & Mannequins in the 1920s"
5 pm Caroline Busta “Body Doubles“
6 pm Michael Sanchez “Behavioral: Some Thoughts on Art Under Network Capitalism“
7 pm Ina Blom "Media Animism. Rachel Harrison's Living Images"
8 pm Jutta Koether „Mad Garlands”
The conference is part of the project „Art and Life“ and made possible by Kulturfonds Frankfurt RheinMain
Tom Humphreys
Vortrag
Tom Humphreys
Mittwoch, 29. Juni, 19 Uhr, Aula
Tom Humphreys is an artist living in London. From 2003 until 2007, he organised an exhibition programme in his house on Broadway Market, which he titled "Flaca". He invited artists that were close to him in different ways, through their work or through personal relationships. He has been invited to do the upcoming exhibition at Portikus, for which he developed a group exhibition that will somehow question the activities of that time in a new environment, implicating a critical relationship to the past rather than presenting a static historical perspective. He will speak about a variety of things, ranging from his own work to Flaca and his exhibition at Portikus.
The exhibition "Flaca / Tom Humphreys" encompasses works by Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins and Alexander Wolff
Tom Humphreys
Mittwoch, 29. Juni, 19 Uhr, Aula
Tom Humphreys is an artist living in London. From 2003 until 2007, he organised an exhibition programme in his house on Broadway Market, which he titled "Flaca". He invited artists that were close to him in different ways, through their work or through personal relationships. He has been invited to do the upcoming exhibition at Portikus, for which he developed a group exhibition that will somehow question the activities of that time in a new environment, implicating a critical relationship to the past rather than presenting a static historical perspective. He will speak about a variety of things, ranging from his own work to Flaca and his exhibition at Portikus.
The exhibition "Flaca / Tom Humphreys" encompasses works by Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins and Alexander Wolff
Montag, 23. Mai 2011
Paul Glover
Vortrag
Paul Glover: Print Your Own Money - Community Currency Systems
Mittwoch, 25. Mai, 19 Uhr, Time/Bank im Portikus
Frankfurt is the European capitol of finance, therefore you should all be rich. Frankfurt-based Deutsche Börse will soon purchase the New York Stock Exchange. So everyone here should have no financial problems. There should be enough money for all your needs. But perhaps you know someone here who has not enough money. Perhaps they are an artist, since most artists typically have not enough money. And many artists have little business sense ...
Even so, because artists are cultural leaders they can become financial leaders. That’s because money is primarily a cultural product. Money often takes the form of official-looking pieces of paper designed by artists. And the credibility of any money depends on cultural messages that validate the institutions claiming power over commerce. So artists can create their own money. And it will not be monopoly money. It will be anti-monopoly money. It will be real money to the extent people trade with it.
Paul Glover is the founder of Ithaca HOURS local currency and author of Hometown Money. He is founder of several other mutual-aid systems for food, fuel, housing, health care.
Paul Glover: Print Your Own Money - Community Currency Systems
Mittwoch, 25. Mai, 19 Uhr, Time/Bank im Portikus
Frankfurt is the European capitol of finance, therefore you should all be rich. Frankfurt-based Deutsche Börse will soon purchase the New York Stock Exchange. So everyone here should have no financial problems. There should be enough money for all your needs. But perhaps you know someone here who has not enough money. Perhaps they are an artist, since most artists typically have not enough money. And many artists have little business sense ...
Even so, because artists are cultural leaders they can become financial leaders. That’s because money is primarily a cultural product. Money often takes the form of official-looking pieces of paper designed by artists. And the credibility of any money depends on cultural messages that validate the institutions claiming power over commerce. So artists can create their own money. And it will not be monopoly money. It will be anti-monopoly money. It will be real money to the extent people trade with it.
Paul Glover is the founder of Ithaca HOURS local currency and author of Hometown Money. He is founder of several other mutual-aid systems for food, fuel, housing, health care.
Richard Wentworth
Vortrag
Richard Wentworth: Having a baby
Dienstag, 24. Mai, 19 Uhr, Aula
Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuro scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival.
Wentworth looks closely at the present by espousing the past. Looking back enables us to understand why and how we move forward. By excavating history and looking closely at the material ‘now’, Wentworth collates and assembles a vivacious archaeology of the world we live in. He reveals that which is curious, ironic, poetic and slight amidst the clutter of daily living.
Wentworth has recently exhibited in Making Worlds at the Venice Biennale (2009), presented an evolving project – A Confiscation of String- at the Whitechapel Art Gallery (2009) and curated Boule to Braid, for Lisson gallery, London (2009) . His botanical guide, using enamel signs, at the Folkestone Triennial (2008) is now a permanent public work. In 2005, Tate Liverpool presented a comprehensive exhibition including works such as False Ceiling, 1995 and Mirror Mirror, 2003. Wentworth worked closely with Artangel at King’s Cross, London (2002) on An Area of Outstanding Unnatural Beauty. Wentworth is the newly appointed Head of Sculpture at Royal College of Art. He is represented by the Lisson Gallery, London.
Richard Wentworth: Having a baby
Dienstag, 24. Mai, 19 Uhr, Aula
Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuro scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival.
Wentworth looks closely at the present by espousing the past. Looking back enables us to understand why and how we move forward. By excavating history and looking closely at the material ‘now’, Wentworth collates and assembles a vivacious archaeology of the world we live in. He reveals that which is curious, ironic, poetic and slight amidst the clutter of daily living.
Wentworth has recently exhibited in Making Worlds at the Venice Biennale (2009), presented an evolving project – A Confiscation of String- at the Whitechapel Art Gallery (2009) and curated Boule to Braid, for Lisson gallery, London (2009) . His botanical guide, using enamel signs, at the Folkestone Triennial (2008) is now a permanent public work. In 2005, Tate Liverpool presented a comprehensive exhibition including works such as False Ceiling, 1995 and Mirror Mirror, 2003. Wentworth worked closely with Artangel at King’s Cross, London (2002) on An Area of Outstanding Unnatural Beauty. Wentworth is the newly appointed Head of Sculpture at Royal College of Art. He is represented by the Lisson Gallery, London.
Eyal Weizman
Vortrag
Eyal Weizman: Forensic Aesthetics, the Sequel
Montag, 23. Mai, 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.
In this second of his Forensic Architecture lecture series Weizman will go both forwards and backwards, unearthing some origins of the term and using them to outline a projective practice that constructs arenas and forums - that is future communities of practice - around a set of negotiations with and around things.
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).
Eyal Weizman: Forensic Aesthetics, the Sequel
Montag, 23. Mai, 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.
In this second of his Forensic Architecture lecture series Weizman will go both forwards and backwards, unearthing some origins of the term and using them to outline a projective practice that constructs arenas and forums - that is future communities of practice - around a set of negotiations with and around things.
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).
Samstag, 14. Mai 2011
Lucie Stahl
Vortrag
Lucie Stahl
Mittwoch, 18. Mai, 19 Uhr, Aula
In ihren Plakatarbeiten arrangiert Lucie Stahl selbst verfasste englische Texte gemeinsam mit Alltagsobjekten wie Pfeffermühlen, Flüssigkeiten, Krawatten auf einem Scanner und gießt die daraus resultierenden Inkjet-Prints in Polyurethan ein. In den selbstironischen Kurzkommentaren offenbart sie nicht nur ihre subjektiven Beobachtungen gesellschaftlicher und politischer Ereignisse, sondern gibt auch offen Einsicht in den Wettbewerb unter Künstlerkollegen oder die Hysterie, die der künstlerischen Produktion unterliegt.
Lucie Stahl lebt in Wien. Ihre Arbeiten zeigte sie unter anderem in Einzelausstellungen im Kölnischen Kunstverein (mit Bela Kolarova, 2011), Kunstverein Nürnberg (2009), in der Dépendance, Brüssel (2005 mit Stefan Müller und 2008), der Galerie Michael Neff, Frankfurt (2007) und im Flaca, London (2005). Sie wird vertreten von Dépendance, Brüssel und Galerie Meyer Kainer, Wien. Seit 2008 leitet sie gemeinsam mit Will Benedict den Ausstellungsraum Pro Choice in Wien.
Lucie Stahl
Mittwoch, 18. Mai, 19 Uhr, Aula
In ihren Plakatarbeiten arrangiert Lucie Stahl selbst verfasste englische Texte gemeinsam mit Alltagsobjekten wie Pfeffermühlen, Flüssigkeiten, Krawatten auf einem Scanner und gießt die daraus resultierenden Inkjet-Prints in Polyurethan ein. In den selbstironischen Kurzkommentaren offenbart sie nicht nur ihre subjektiven Beobachtungen gesellschaftlicher und politischer Ereignisse, sondern gibt auch offen Einsicht in den Wettbewerb unter Künstlerkollegen oder die Hysterie, die der künstlerischen Produktion unterliegt.
Lucie Stahl lebt in Wien. Ihre Arbeiten zeigte sie unter anderem in Einzelausstellungen im Kölnischen Kunstverein (mit Bela Kolarova, 2011), Kunstverein Nürnberg (2009), in der Dépendance, Brüssel (2005 mit Stefan Müller und 2008), der Galerie Michael Neff, Frankfurt (2007) und im Flaca, London (2005). Sie wird vertreten von Dépendance, Brüssel und Galerie Meyer Kainer, Wien. Seit 2008 leitet sie gemeinsam mit Will Benedict den Ausstellungsraum Pro Choice in Wien.
Elizabeth Povinelli
Vortrag
Elizabeth Povinelli: Time/Banks, Routes/Worlds
Dienstag, 17. Mai, 19 Uhr, Portikus
With the Portikus project, “Time/Bank” as backdrop, Elizabeth Povinelli examines the raveling and unraveling of social worlds as a dynamic relationship between social networks and enclosures. “Time/Banks, Routes/Worlds” begins with a discussion of the anthropology of the gift as a genealogical background to Latour’s network theory and Sloterdjik’s theory of spheres, demonstrating how the circulation of things creates spatial folds in which social worlds emerge and people dwell. In other words, whether gifts of skill-time, ritual objects, humans, or commodities, things do not simply move, they figure space and are figured by space; they are the condition of previous circulatory matrixes and become part of the matrix that conditions what other kinds of things can pass through and be made sense of within this figured space; and they create the deficits and excess out of which new forms of life emerge. Povinelli's ongoing projects - a graphic memoir (old media) and a smart phone based augmented reality program (new media) - examine the relationship among representation, mediation, and the raveling and unraveling of worlds in the context of historical reformations of global capital and state power.
Elizabeth Povinelli is a professor of anthropology and gender studies at Columbia University in New York. She is the author of three books, including "The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality".
Elizabeth Povinelli: Time/Banks, Routes/Worlds
Dienstag, 17. Mai, 19 Uhr, Portikus
With the Portikus project, “Time/Bank” as backdrop, Elizabeth Povinelli examines the raveling and unraveling of social worlds as a dynamic relationship between social networks and enclosures. “Time/Banks, Routes/Worlds” begins with a discussion of the anthropology of the gift as a genealogical background to Latour’s network theory and Sloterdjik’s theory of spheres, demonstrating how the circulation of things creates spatial folds in which social worlds emerge and people dwell. In other words, whether gifts of skill-time, ritual objects, humans, or commodities, things do not simply move, they figure space and are figured by space; they are the condition of previous circulatory matrixes and become part of the matrix that conditions what other kinds of things can pass through and be made sense of within this figured space; and they create the deficits and excess out of which new forms of life emerge. Povinelli's ongoing projects - a graphic memoir (old media) and a smart phone based augmented reality program (new media) - examine the relationship among representation, mediation, and the raveling and unraveling of worlds in the context of historical reformations of global capital and state power.
Elizabeth Povinelli is a professor of anthropology and gender studies at Columbia University in New York. She is the author of three books, including "The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality".
Raimundas Malasauskas
Führung / Guided Tour
Raimundas Malasauskas: The Future of Tradition
Dienstag, 17. Mai, 18 Uhr, Portikus
Raimundas Malasauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age", David Roberts Art Foundation, London (2009); "Into the Belly of a Dove", Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island", Centre Georges Pompidou, Paris (2010).
Raimundas Malasauskas: The Future of Tradition
Dienstag, 17. Mai, 18 Uhr, Portikus
Raimundas Malasauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age", David Roberts Art Foundation, London (2009); "Into the Belly of a Dove", Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island", Centre Georges Pompidou, Paris (2010).
Raqs Media Collective
Vortrag
Raqs Media Collective: A Few Questions Regarding the Quality of Time
Montag, 16. Mai, 19 Uhr, Portikus
Does one time fit all? Can time be equally sliced? Can we trade time? Can we make ourselves understood when we talk to each other in different dialects of time? Do we all have covert and secret clocks that have their alarms go off at odd moments? Does the value of time stay the same when looked at in the light of life and the shadow of death? These questions, some straightforward, some less than obvious, some whimsical, some fantastical - acquire a sharpness and tang in today's world, where, in the aftermath of economic catastrophes, we are all groping for other ways of measuring the worth of the world and our time in it. In their contribution to Time/Bank Raqs provide no easy answers, but lay out the questions we must encounter in the course of any attempt to open an account in the bank of time.
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory - often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai-CSDS, an initiative they co-founded in 2000. They have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.
Raqs Media Collective: A Few Questions Regarding the Quality of Time
Montag, 16. Mai, 19 Uhr, Portikus
Does one time fit all? Can time be equally sliced? Can we trade time? Can we make ourselves understood when we talk to each other in different dialects of time? Do we all have covert and secret clocks that have their alarms go off at odd moments? Does the value of time stay the same when looked at in the light of life and the shadow of death? These questions, some straightforward, some less than obvious, some whimsical, some fantastical - acquire a sharpness and tang in today's world, where, in the aftermath of economic catastrophes, we are all groping for other ways of measuring the worth of the world and our time in it. In their contribution to Time/Bank Raqs provide no easy answers, but lay out the questions we must encounter in the course of any attempt to open an account in the bank of time.
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory - often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai-CSDS, an initiative they co-founded in 2000. They have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.
Sonntag, 8. Mai 2011
THEMROC
Filmvorführung
Themroc: Screening presented by Time/Bank
Donnerstag, 12. Mai, 19Uhr, Portikus
Time/Bank is pleased to be screening the 1973 cult classic Themroc by director Claude Faraldo. Made on a low budget with no intelligible dialog, Themroc tells the story of a French blue collar worker who rebels against modern society, reverting into an urban caveman.
Themroc (Michel Piccoli) goes to work one morning, the same as every morning, but there's a difference this time - as the day draws on, Themroc realises he's had enough of the same old routine. While up a ladder to paint the outside of an office block, he ogles the secretary being dictated to by his boss, then his boss catches him and calls him into his office. This causes Themroc to snap, and he walks out with plans to send himself back to the stone age. When he gets home, he sets about sealing himself into his bedroom and smashing down the outside wall to create a cave. His anarchy is catching - soon his neighbours from across the street are doing the same and it's not long before the media and the police are taking an interest. Because he is breaking the rules of society, the authorities must find a way of containing Themroc before he starts a trend - his antisocial behaviour is surprisingly attractive to the ordinary people around the city.
Themroc: Screening presented by Time/Bank
Donnerstag, 12. Mai, 19Uhr, Portikus
Time/Bank is pleased to be screening the 1973 cult classic Themroc by director Claude Faraldo. Made on a low budget with no intelligible dialog, Themroc tells the story of a French blue collar worker who rebels against modern society, reverting into an urban caveman.
Themroc (Michel Piccoli) goes to work one morning, the same as every morning, but there's a difference this time - as the day draws on, Themroc realises he's had enough of the same old routine. While up a ladder to paint the outside of an office block, he ogles the secretary being dictated to by his boss, then his boss catches him and calls him into his office. This causes Themroc to snap, and he walks out with plans to send himself back to the stone age. When he gets home, he sets about sealing himself into his bedroom and smashing down the outside wall to create a cave. His anarchy is catching - soon his neighbours from across the street are doing the same and it's not long before the media and the police are taking an interest. Because he is breaking the rules of society, the authorities must find a way of containing Themroc before he starts a trend - his antisocial behaviour is surprisingly attractive to the ordinary people around the city.
RAIMUNDAS MALASAUSKAS
Vortrag
Raimundas Malasauskas: The Future of Tradition, Guided Tour
Donnerstag, 12. Mai, 18Uhr, Portikus
Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions “Sculpture of the Space Age,” David Roberts Art Foundation, London (2009); “Into the Belly of a Dove,” Museo Rufino Tamayo, Mexico City (2010), and “Repetition Island,” Centre Georges Pompidou, Paris (2010).
Raimundas Malasauskas: The Future of Tradition, Guided Tour
Donnerstag, 12. Mai, 18Uhr, Portikus
Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions “Sculpture of the Space Age,” David Roberts Art Foundation, London (2009); “Into the Belly of a Dove,” Museo Rufino Tamayo, Mexico City (2010), and “Repetition Island,” Centre Georges Pompidou, Paris (2010).
JULIANE REBENTISCH
Vortrag
Juliane Rebentisch: Participation in Art: 10 Theses
Mittwoch, 11. Mai 2011, 19Uhr, Aula
Participation has become one of the key terms in contemporary art discourse. But what does it mean to participate in art? How does it relate to the political problem of social participation? Can it be equated with the staged interactivity we encounter in much contemporary art practice? And what about the history of aesthetic participation? How do contemporary models of thinking participation relate to the modernist idea that participating in art means partaking in something that posseses universal validity? What became of the modernist assumption that there is an ethical dimension at work in our relation to art works? The lecture will pursue these questions and offer theses to be discussed.
Juliane Rebentisch teaches philosophy at the Johann Wolfgang Goethe-University in Frankfurt/Main. She is a member of the cluster of excellence „Formation of Normative Orders“. Her main research areas are aesthetics, ethics, and political philosophy. Publications include: Ästhetik der Installation (Suhrkamp 2003); Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus (co-ed. with Ch. Menke, Kadmos 2010); in preparation: Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz (Suhrkamp, Jan. 2012).
Juliane Rebentisch: Participation in Art: 10 Theses
Mittwoch, 11. Mai 2011, 19Uhr, Aula
Participation has become one of the key terms in contemporary art discourse. But what does it mean to participate in art? How does it relate to the political problem of social participation? Can it be equated with the staged interactivity we encounter in much contemporary art practice? And what about the history of aesthetic participation? How do contemporary models of thinking participation relate to the modernist idea that participating in art means partaking in something that posseses universal validity? What became of the modernist assumption that there is an ethical dimension at work in our relation to art works? The lecture will pursue these questions and offer theses to be discussed.
Juliane Rebentisch teaches philosophy at the Johann Wolfgang Goethe-University in Frankfurt/Main. She is a member of the cluster of excellence „Formation of Normative Orders“. Her main research areas are aesthetics, ethics, and political philosophy. Publications include: Ästhetik der Installation (Suhrkamp 2003); Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus (co-ed. with Ch. Menke, Kadmos 2010); in preparation: Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz (Suhrkamp, Jan. 2012).
FRANCO BERARDI
Vortrag
Franco Berardi (Bifo)
Dienstag, 10. Mai 2011, 19Uhr, Portikus
The main cultural transformation of modern capitalism has been the creation of refrains of temporal perception that pervade and discipline society: the refrain of factory work, the refrain of the salary, the refrain of production line. The digital transition has brought along with it new refrains: electronic fragmentation, information overload, acceleration of the semiotic exchange. Fractalization of time, competition. The essential feature of refrain is the rhythm. Rhythm is the relation of a subjective flow of signs (musical, poetic, gestual signs) with the environment: cosmic environment, earthly environment, social environment. Rhythm is singular and collective. It is singularizing the sound of the world in a special modeling of the environmental sound. But it is able to trigger a process of agglutination, of sensitive and sensible communality. Sometime people start to sing the same song, and to dance the same dance. It can be dangerous, and on this kind of homogeneous subjectivation is based fascism, and modern totalitarianism in general. But it can happen in ironic and nomadic ways. People start to create a new song, and they do it together. That’s a movement.
Franco Berardi, aka “Bifo,” founder of the famous “Radio Alice” in Bologna and an important figure of the Italian Autonomia Movement, is a writer, media theorist, and media activist. He currently teaches Social History of the Media at the Accademia di Brera, Milan.
Franco Berardi (Bifo)
Dienstag, 10. Mai 2011, 19Uhr, Portikus
The main cultural transformation of modern capitalism has been the creation of refrains of temporal perception that pervade and discipline society: the refrain of factory work, the refrain of the salary, the refrain of production line. The digital transition has brought along with it new refrains: electronic fragmentation, information overload, acceleration of the semiotic exchange. Fractalization of time, competition. The essential feature of refrain is the rhythm. Rhythm is the relation of a subjective flow of signs (musical, poetic, gestual signs) with the environment: cosmic environment, earthly environment, social environment. Rhythm is singular and collective. It is singularizing the sound of the world in a special modeling of the environmental sound. But it is able to trigger a process of agglutination, of sensitive and sensible communality. Sometime people start to sing the same song, and to dance the same dance. It can be dangerous, and on this kind of homogeneous subjectivation is based fascism, and modern totalitarianism in general. But it can happen in ironic and nomadic ways. People start to create a new song, and they do it together. That’s a movement.
Franco Berardi, aka “Bifo,” founder of the famous “Radio Alice” in Bologna and an important figure of the Italian Autonomia Movement, is a writer, media theorist, and media activist. He currently teaches Social History of the Media at the Accademia di Brera, Milan.
TACITA DEAN
Vortrag
Tacita Dean: The Line of Fate
Montag, 9. Mai 2011, 19Uhr, Aula
Berlin-based artist Tacita Dean is trained as a painter and now works in a variety of media, including drawing, photography and sound but is best known for her compelling 16mm films, of which she has made fifteen to date. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. She has also made works about the mechanics of production, which reveal the artifice of cinema.
Her work includes films such as “Fernsehturm” (2001), “Kodak” (2006), “Craneway Event” (2009), “Still Life” (2009) and “Day for Night” (2009). Her solo exhibitions were presented at Guggenheim Museum, New York (2007), Dia Beacon, New York (2007), ACCA, Melbourne (2011) and the Tate Modern in London (2011). Tacita Dean´s forthcoming exhibition is “Line of Fate” at MUMOK in Vienna. She was awarded the Hugo Boss Prize 2007 and the Kurt Schwitters-Preis Award 2009.
Tacita Dean: The Line of Fate
Montag, 9. Mai 2011, 19Uhr, Aula
Berlin-based artist Tacita Dean is trained as a painter and now works in a variety of media, including drawing, photography and sound but is best known for her compelling 16mm films, of which she has made fifteen to date. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. She has also made works about the mechanics of production, which reveal the artifice of cinema.
Her work includes films such as “Fernsehturm” (2001), “Kodak” (2006), “Craneway Event” (2009), “Still Life” (2009) and “Day for Night” (2009). Her solo exhibitions were presented at Guggenheim Museum, New York (2007), Dia Beacon, New York (2007), ACCA, Melbourne (2011) and the Tate Modern in London (2011). Tacita Dean´s forthcoming exhibition is “Line of Fate” at MUMOK in Vienna. She was awarded the Hugo Boss Prize 2007 and the Kurt Schwitters-Preis Award 2009.
Mittwoch, 27. April 2011
Rundgang 2011 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
29. APRIL - 1. MAI 2011
Programm download
Eröffnung mit Preisverleihung: Freitag, 29. April, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2010 nahmen mehr als 15.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2011 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.
Highlights:
Freitag, 29. April
19 Uhr Eröffnung und Preisverleihung
Moderation: Graziano Capitta, Mensa
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis
Jury: Clémentine Deliss und Douglas Gordon
22 Uhr Rundgang Party, Daimlerstraße 32
mit Philip Berg, Sergio Casariva, Ata Macias und Michael Satter
Eintritt: 6 €
Samstag, 30. April
14 Uhr Douglas Gordon und Nikolaus Hirsch im Gespräch, Aula
16 Uhr Vortrag: Jan Verwoert "Corruption. Care. Magic." Aula
Beyond the structures of social institutions and the theatre of political representation what other, less visible, or invisible conditions for the production of society can be found in corruption, care and magic? and how could art tap into them?
Jan Verwoert is a writer, based in Berlin, he is a contributing editor of frieze magazine and teaches at the Piet Zwart Institute Rotterdam, the Hamidrasha School of Art, Tel Aviv and the DeAppel Curatorial Programme, Amsterdam. A volume of his collected writings Tell Me What You Want What You Really Really Want has recently been published by Sternberg Press/Piet Zwart Institute.
(Die Veranstaltung findet in englischer Sprache statt)
17 Uhr "Hair of the Dog" Bloody Mary - Piano Bar, Küche Filmklasse
Sonntag, 1. Mai
12 Uhr "Daimler Matinée" Daimlerstraße 32
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der "Rundgang 2011" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Programm download
Eröffnung mit Preisverleihung: Freitag, 29. April, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2010 nahmen mehr als 15.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2011 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.
Highlights:
Freitag, 29. April
19 Uhr Eröffnung und Preisverleihung
Moderation: Graziano Capitta, Mensa
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis
Jury: Clémentine Deliss und Douglas Gordon
22 Uhr Rundgang Party, Daimlerstraße 32
mit Philip Berg, Sergio Casariva, Ata Macias und Michael Satter
Eintritt: 6 €
Samstag, 30. April
14 Uhr Douglas Gordon und Nikolaus Hirsch im Gespräch, Aula
16 Uhr Vortrag: Jan Verwoert "Corruption. Care. Magic." Aula
Beyond the structures of social institutions and the theatre of political representation what other, less visible, or invisible conditions for the production of society can be found in corruption, care and magic? and how could art tap into them?
Jan Verwoert is a writer, based in Berlin, he is a contributing editor of frieze magazine and teaches at the Piet Zwart Institute Rotterdam, the Hamidrasha School of Art, Tel Aviv and the DeAppel Curatorial Programme, Amsterdam. A volume of his collected writings Tell Me What You Want What You Really Really Want has recently been published by Sternberg Press/Piet Zwart Institute.
(Die Veranstaltung findet in englischer Sprache statt)
17 Uhr "Hair of the Dog" Bloody Mary - Piano Bar, Küche Filmklasse
Sonntag, 1. Mai
12 Uhr "Daimler Matinée" Daimlerstraße 32
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der "Rundgang 2011" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Montag, 18. April 2011
Josef Strau
Vortrag
Josef Strau
Dienstag, 19. April 2011, 19 Uhr, Aula
Josef Strau, geboren 1957, ist Künstler und Schriftsteller in Berlin.
Er ist Gründer und Organisator der Galerie Meerrettich im Pavillon am Rosa-Luxemburg-Platz in Berlin. 1990 -93 initiierte er zusammen mit Stefan Dillemuth "Friesenwall 120" in Köln. 2010 zeigte er die Ausstellung "The Why Does This All Happen To Me Experience" im House of Gaga, Mexico City und "Vienna and Jerusalem" (mit Martin Guttman), Pro Choice, Wien.
Während der vergangenen Jahre hat Josef Strau an Formen einer unmittelbaren Verbindung von seinen Texten und einigen seiner Ausstellungsobjekte gearbeitet: Für verschiedene Gruppenausstellungen sind so genannte „Leselampen“ entstanden, die auch als eine Art Werbe-Objekt für seine Texte fungieren. Als erste Lampe wurde 2004 die „Das Jahr im Rückblick“-Lampe im Pavillon der Galerie Meerrettich gezeigt. Die „Lampe für einen Baudelaire-Tag in Berlin“ stand 2004 in einer Ausstellung bei Daniel Buchholz in Köln. Auf der Sonderausstellung „Open Space“ der Art Cologne (2005) zeigte Josef Strau in der Präsentation der Galerie Meerrettich die Lampe „Dear Little Tiger“. „Die weiße Leselampe“ wurde schließlich in die von Tobias Buche kuratierte Gruppenausstellung „The Gone Wait“ in der Gagosian Gallery Berlin (2005) integriert.
Josef Strau über Koinzidenz:
“… It is somewhere, and it often becomes coincidences, which decide this starting point - these are also the best texts. The more I work intentionally, the worse the texts become. The more the texts were written on coincidences, the more the texts kept developing. So the coincidence is like the mysterious starting point. (…) I try to avoid the classic authorship (…) it doesn’t mean, that it cannot be autobiographical, but I want somehow the reality which my works refer to, doesn’t not come from me, but from the outside by coincidence…
For some years I didn’t really work as an artist, almost giving up, but then I did Galerie Meerrettich, and then, for many reasons I suddenly became interested in making and producing again, more than I was ever before. There was this writing phenomenon that I really wanted to focus on. (It) was a coincidence as well, (…) I thought, maybe I should try… and then it created this thing, - I’m afraid in a kind of slightly humorous way – about art and economy, dealing with the realities like, that art has a very different economy than writing – you cannot sell text objects as you can sell an art object immediately. I suddenly realized, that I had to look more into this business side of the whole thing as well…”
Die Veranstaltung findet in englischer Sprache statt.
Josef Strau
Dienstag, 19. April 2011, 19 Uhr, Aula
Josef Strau, geboren 1957, ist Künstler und Schriftsteller in Berlin.
Er ist Gründer und Organisator der Galerie Meerrettich im Pavillon am Rosa-Luxemburg-Platz in Berlin. 1990 -93 initiierte er zusammen mit Stefan Dillemuth "Friesenwall 120" in Köln. 2010 zeigte er die Ausstellung "The Why Does This All Happen To Me Experience" im House of Gaga, Mexico City und "Vienna and Jerusalem" (mit Martin Guttman), Pro Choice, Wien.
Während der vergangenen Jahre hat Josef Strau an Formen einer unmittelbaren Verbindung von seinen Texten und einigen seiner Ausstellungsobjekte gearbeitet: Für verschiedene Gruppenausstellungen sind so genannte „Leselampen“ entstanden, die auch als eine Art Werbe-Objekt für seine Texte fungieren. Als erste Lampe wurde 2004 die „Das Jahr im Rückblick“-Lampe im Pavillon der Galerie Meerrettich gezeigt. Die „Lampe für einen Baudelaire-Tag in Berlin“ stand 2004 in einer Ausstellung bei Daniel Buchholz in Köln. Auf der Sonderausstellung „Open Space“ der Art Cologne (2005) zeigte Josef Strau in der Präsentation der Galerie Meerrettich die Lampe „Dear Little Tiger“. „Die weiße Leselampe“ wurde schließlich in die von Tobias Buche kuratierte Gruppenausstellung „The Gone Wait“ in der Gagosian Gallery Berlin (2005) integriert.
Josef Strau über Koinzidenz:
“… It is somewhere, and it often becomes coincidences, which decide this starting point - these are also the best texts. The more I work intentionally, the worse the texts become. The more the texts were written on coincidences, the more the texts kept developing. So the coincidence is like the mysterious starting point. (…) I try to avoid the classic authorship (…) it doesn’t mean, that it cannot be autobiographical, but I want somehow the reality which my works refer to, doesn’t not come from me, but from the outside by coincidence…
For some years I didn’t really work as an artist, almost giving up, but then I did Galerie Meerrettich, and then, for many reasons I suddenly became interested in making and producing again, more than I was ever before. There was this writing phenomenon that I really wanted to focus on. (It) was a coincidence as well, (…) I thought, maybe I should try… and then it created this thing, - I’m afraid in a kind of slightly humorous way – about art and economy, dealing with the realities like, that art has a very different economy than writing – you cannot sell text objects as you can sell an art object immediately. I suddenly realized, that I had to look more into this business side of the whole thing as well…”
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 15. März 2011
Globe: Rabih Mroué
Three evenings with Rabih Mroué and friends
Diana Allan (Beirut) Tony Chakar (Beirut) Simon Haber (Beirut) Joana Hadjithomas (Paris) Khalil Joreige (Paris) Lamia Joreige (Beirut) Ziad Nawfal (Beirut)
Maher Abi Samra (Beirut) Scrambled Eggs (Beirut)
Mittwoch, 13. April - Freitag, 15. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance / Eine Initiative der Deutschen Bank in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 13. April
17:00 – 19:00 Ziad Nawfal, 96.2 FM Radio Lebanon / live Radio
19:00 – 20:30 Tony Chakar The Eighth Day / Talk
21:30 – 22:30 Rabih Mroué, Make me stop smoking / Lecture performance
Donnerstag 14. April
17:00 – 18:30 Ziad Nawfal, Beirut‘s alternative music scene / Lecture performance
19:00 – 21:00 Simon Haber, The One Man Village / Film
21:30 – 22:30 Rabih Mroué, The inhabitants of images / Lecture performance
Freitag 15. April
18:00 – 19:00 Maher Abi Samra, Lamia Joreige, Diana Allan, Merely Smell, Journey, Still Life / Film
19:30 – 21:00 Joana Hadjithomas & Khalil Joreige, Aida sauve-moi / Lecture performance
21:30 – 22:30 Scrambled Eggs, Jackpot Blues part I + II / Music
Rabih Mroué (born 1967) is an actor, director, playwright, visual artist, and a contributing editor of The Drama Review (TDR) as well as a co-founder and board member of the Beirut Art Center (BAC), Beirut. Recent exhibitions include "I the Undersigned" at BAK (Utrecht, 2010), Performa 09 (New York, 2009), 11th International Istanbul Biennial (2009), "Tarjama/Translation" at Queens Museum of Art (New York, 2009), Sjarjah Biennial (2009), "Soft Manipulation – Who is afraid of the new now?" at Casino Luxembourg (2008) and "Medium Religion" at ZKM (Karlsruhe, 2008). Mroué lives and works in Beirut.
Rabih Mroué engages with cultural and political processes.
His meticulously staged theatrical performances
and videos explore relationships between different artistic
languages and the interaction between performer and
audience. For “Globe” Mroué invited his friends from Beirut.
Alternative Sounds characterize Ziad Nawfal’s live
broadcast for Radio Lebanon and a concert by Scrambled
Eggs, one of the most distinguished young Beirut rock
bands. Films by Simon Haber, Maher Abi Samra, Lamia
Joreige, and Diana Allan will be shown, and a performance
by the filmmakers Joana Hadjithomas and Khalil Joreige
will be staged. The program moreover includes lectures
by Rabih Mroué and a talk by the artist, architect, and
essayist Tony Chakar.
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank Towers. Each week will be shaped by a different international artist and his or her guests.
Die Veranstaltungen finden in englischer Sprache statt.
Weitere Informationen unter
www.db.com/globe
und
www.db-artmag.de/en/64/feature/globe-for-frankfurt-and-the-world-the-art-and-performance-progr/
Diana Allan (Beirut) Tony Chakar (Beirut) Simon Haber (Beirut) Joana Hadjithomas (Paris) Khalil Joreige (Paris) Lamia Joreige (Beirut) Ziad Nawfal (Beirut)
Maher Abi Samra (Beirut) Scrambled Eggs (Beirut)
Mittwoch, 13. April - Freitag, 15. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance / Eine Initiative der Deutschen Bank in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 13. April
17:00 – 19:00 Ziad Nawfal, 96.2 FM Radio Lebanon / live Radio
19:00 – 20:30 Tony Chakar The Eighth Day / Talk
21:30 – 22:30 Rabih Mroué, Make me stop smoking / Lecture performance
Donnerstag 14. April
17:00 – 18:30 Ziad Nawfal, Beirut‘s alternative music scene / Lecture performance
19:00 – 21:00 Simon Haber, The One Man Village / Film
21:30 – 22:30 Rabih Mroué, The inhabitants of images / Lecture performance
Freitag 15. April
18:00 – 19:00 Maher Abi Samra, Lamia Joreige, Diana Allan, Merely Smell, Journey, Still Life / Film
19:30 – 21:00 Joana Hadjithomas & Khalil Joreige, Aida sauve-moi / Lecture performance
21:30 – 22:30 Scrambled Eggs, Jackpot Blues part I + II / Music
Rabih Mroué (born 1967) is an actor, director, playwright, visual artist, and a contributing editor of The Drama Review (TDR) as well as a co-founder and board member of the Beirut Art Center (BAC), Beirut. Recent exhibitions include "I the Undersigned" at BAK (Utrecht, 2010), Performa 09 (New York, 2009), 11th International Istanbul Biennial (2009), "Tarjama/Translation" at Queens Museum of Art (New York, 2009), Sjarjah Biennial (2009), "Soft Manipulation – Who is afraid of the new now?" at Casino Luxembourg (2008) and "Medium Religion" at ZKM (Karlsruhe, 2008). Mroué lives and works in Beirut.
Rabih Mroué engages with cultural and political processes.
His meticulously staged theatrical performances
and videos explore relationships between different artistic
languages and the interaction between performer and
audience. For “Globe” Mroué invited his friends from Beirut.
Alternative Sounds characterize Ziad Nawfal’s live
broadcast for Radio Lebanon and a concert by Scrambled
Eggs, one of the most distinguished young Beirut rock
bands. Films by Simon Haber, Maher Abi Samra, Lamia
Joreige, and Diana Allan will be shown, and a performance
by the filmmakers Joana Hadjithomas and Khalil Joreige
will be staged. The program moreover includes lectures
by Rabih Mroué and a talk by the artist, architect, and
essayist Tony Chakar.
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank Towers. Each week will be shaped by a different international artist and his or her guests.
Die Veranstaltungen finden in englischer Sprache statt.
Weitere Informationen unter
www.db.com/globe
und
www.db-artmag.de/en/64/feature/globe-for-frankfurt-and-the-world-the-art-and-performance-progr/
Globe: Ei Arakawa
Reorienting Orientationalism, New Directions (Haircolour) International Class 2011
Mit Henning Bohl (Berlin) Yuki Kimura (Kyoto) Q Takeki Maeda (Berlin/Kyoto) Mélanie Mermod (Paris) Ken Okiishi (New York City) Carissa Rodriguez (New York City) Sergei Tcherepnin (New York City)
Mittwoch, 06. April - Freitag, 08. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 06. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 January 2011 Tokyo / Film
20:00 – 20:30 Ei Arakawa, Carissa Rodriguez, The One Inside (Spring Version) / Performance & Installation
20:30 – 00:00 Ken Okiishi, Ei Arakawa, Henning Bohl, Carissa Rodriguez, Sergei Tcherepnin,Yuki Kimura, Q Takeki Maeda, Mélanie Mermod / Performance
Donnerstag 07. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition Carissa Rodriguez, Left Over | Exhibition
19:00 – 20:00 February 2011 Mito / Film
20:00 – 20:45 Ei Arakawa, Henning Bohl, Sergei Tcherepnin, Reorienting Orientationalism, New Directions (haircolour), International Class 2011 / Performance & Music
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Freitag 08. April
17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei Tcherepnin, Left Over / Exhibition Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 March 2011 Osaka / Film
20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, True Urgent Talk / Performance & Installation
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Ei Arakawa‘s performances move between action and
ceremony. With different materials such as video films,
banners, and posters, which “illustrate” choreographies,
he creates situations in which the boundaries between
actor and audience disappear. In Frankfurt, he and his
friends will articulate the cultural and aesthetic transfer
between Japan and the Western art scene. All guests
recently visited Japan in order to develop this project.
The program consists of performances, talks, concerts,
and films by the artists Henning Bohl, Carissa Rodriguez,
Q Takeki Maeda, Yuki Kimura, Mélanie Mermod, Ken
Okiishi, and the New York composer Sergei Tcherepnin.
It will be supplemented by daily changing exhibitions and
a project on the legendary Japanese artists’ group Jikken
Kobo from the early 1950s.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Henning Bohl (Berlin) Yuki Kimura (Kyoto) Q Takeki Maeda (Berlin/Kyoto) Mélanie Mermod (Paris) Ken Okiishi (New York City) Carissa Rodriguez (New York City) Sergei Tcherepnin (New York City)
Mittwoch, 06. April - Freitag, 08. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 06. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 January 2011 Tokyo / Film
20:00 – 20:30 Ei Arakawa, Carissa Rodriguez, The One Inside (Spring Version) / Performance & Installation
20:30 – 00:00 Ken Okiishi, Ei Arakawa, Henning Bohl, Carissa Rodriguez, Sergei Tcherepnin,Yuki Kimura, Q Takeki Maeda, Mélanie Mermod / Performance
Donnerstag 07. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition Carissa Rodriguez, Left Over | Exhibition
19:00 – 20:00 February 2011 Mito / Film
20:00 – 20:45 Ei Arakawa, Henning Bohl, Sergei Tcherepnin, Reorienting Orientationalism, New Directions (haircolour), International Class 2011 / Performance & Music
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Freitag 08. April
17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei Tcherepnin, Left Over / Exhibition Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 March 2011 Osaka / Film
20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, True Urgent Talk / Performance & Installation
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Ei Arakawa‘s performances move between action and
ceremony. With different materials such as video films,
banners, and posters, which “illustrate” choreographies,
he creates situations in which the boundaries between
actor and audience disappear. In Frankfurt, he and his
friends will articulate the cultural and aesthetic transfer
between Japan and the Western art scene. All guests
recently visited Japan in order to develop this project.
The program consists of performances, talks, concerts,
and films by the artists Henning Bohl, Carissa Rodriguez,
Q Takeki Maeda, Yuki Kimura, Mélanie Mermod, Ken
Okiishi, and the New York composer Sergei Tcherepnin.
It will be supplemented by daily changing exhibitions and
a project on the legendary Japanese artists’ group Jikken
Kobo from the early 1950s.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: Cao Fei
A Three Days Treatment
Mit Daniel Birnbaum (Stockholm)
Cao Chong’en (Guangzhou/Vancouver)
He Yufan (Beijing)
Nikolaus Hirsch (Frankfurt am Main)
Huang He (Guangzhou)
Huang Shan (Guangzhou)
Jiang Jun (Beijing)
Jiang Zhi (Beijing/Shenzhen)
Zafka Zhang (Beijing)
Zhang Wei (Beijing/Guangzhou)
Mittwoch, 30. März - Freitag, 01. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 30. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf
19:30 – 21:30 Cao Chong‘en, Clay & Belief / Live Sculpturing
22:00 – 23:30 Cao Fei, Father / Film
Donnerstag 31. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, Coffee Yoga - Class Two: Double Espresso
20:00 – 21:15 Nikolaus Hirsch, Daniel Birnbaum, Cao Fei, Zhang Wei, Jiang Zhi, The Pavilion / Talk
21:45 – 22:30 Jiang Zhi, Moment / Film
Freitag 01. April
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 Coffee Yoga – Class Three: Black Coffee
20:00 – 21:00 Huang Shan, Huang He / Fengshui Performance
21:30 – 22:30 Cao Fei, i Mirror, Live in RMB City / Film
23:00 – 00:00 Zafka Zhang | Music
In her installations, Cao Fei combines influences of global
pop culture with elements from the Peking Opera and
dance. She works with film and animation, as well as on the
internet. She realized her project RMB City on “Second Life”,
as a utopian city where avatar China Tracy acts. For “Globe”
Cao Fei will introduce a completely new artistic practice:
visitors can practice coffee yoga with China Tracy and experience
what the Frankfurt School and Zen have in common.
In addition to the performance Two as One by He Yufan
and Jiang Jun the program includes a live sculpturing by
Cao Chong'en, music by Zafka Zhang, a Fengshui-performance
by Huang Shan and Huang He as well as the discussion
The Pavilion. Cao Fei talks with Daniel Birnbaum,
director of the Moderna Museet, Nikolaus Hirsch, rector
of the Städelschule, Beijing artist Jian Zhi and Zhang Wei,
director of Vitamin Creative Space, Guangzhou.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Daniel Birnbaum (Stockholm)
Cao Chong’en (Guangzhou/Vancouver)
He Yufan (Beijing)
Nikolaus Hirsch (Frankfurt am Main)
Huang He (Guangzhou)
Huang Shan (Guangzhou)
Jiang Jun (Beijing)
Jiang Zhi (Beijing/Shenzhen)
Zafka Zhang (Beijing)
Zhang Wei (Beijing/Guangzhou)
Mittwoch, 30. März - Freitag, 01. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 30. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf
19:30 – 21:30 Cao Chong‘en, Clay & Belief / Live Sculpturing
22:00 – 23:30 Cao Fei, Father / Film
Donnerstag 31. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, Coffee Yoga - Class Two: Double Espresso
20:00 – 21:15 Nikolaus Hirsch, Daniel Birnbaum, Cao Fei, Zhang Wei, Jiang Zhi, The Pavilion / Talk
21:45 – 22:30 Jiang Zhi, Moment / Film
Freitag 01. April
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 Coffee Yoga – Class Three: Black Coffee
20:00 – 21:00 Huang Shan, Huang He / Fengshui Performance
21:30 – 22:30 Cao Fei, i Mirror, Live in RMB City / Film
23:00 – 00:00 Zafka Zhang | Music
In her installations, Cao Fei combines influences of global
pop culture with elements from the Peking Opera and
dance. She works with film and animation, as well as on the
internet. She realized her project RMB City on “Second Life”,
as a utopian city where avatar China Tracy acts. For “Globe”
Cao Fei will introduce a completely new artistic practice:
visitors can practice coffee yoga with China Tracy and experience
what the Frankfurt School and Zen have in common.
In addition to the performance Two as One by He Yufan
and Jiang Jun the program includes a live sculpturing by
Cao Chong'en, music by Zafka Zhang, a Fengshui-performance
by Huang Shan and Huang He as well as the discussion
The Pavilion. Cao Fei talks with Daniel Birnbaum,
director of the Moderna Museet, Nikolaus Hirsch, rector
of the Städelschule, Beijing artist Jian Zhi and Zhang Wei,
director of Vitamin Creative Space, Guangzhou.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: Keren Cytter
Fear, Fun and Fire
Mit Charles Arsène-Henry (London) Diedrich Diederichsen (Berlin/Wien) Andrew Kerton (Berlin) Philipp Kleinmichel (Berlin) Dafna Maimon (Berlin) Maria and the Mirrors (London) John Maus (Minneapolis) Susie Meyer (Berlin) Fabian Stumm (Berlin)
Mittwoch, 23. März - Freitag, 25. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 23. März
19:00 – 19:45 Charles Arsène-Henry / Lecture performance
20:30 – 22:00 Keren Cytter, Don‘t touch me psychopath / Film (Premiere)
Donnerstag 24. März
19:00 – 19:45 Diedrich Diederichsen / Talk
20:15 – 20:45 Andrew Kerton & Dafna Maimon / Performance (Premiere)
21:30 – 22:30 Maria and the Mirrors / Music
Freitag 25. März
19:00 – 19:45 Philipp Kleinmichel / Talk
20:15 – 20:45 Keren Cytter, Showreal / Performance (Premiere)
21:30 – 22.30 John Maus / Music
The Israeli artist Keren Cytter shoots videos, choreographs dance performances, writes novellas, and has even penned an opera libretto. Her film works deal with human relationships and plumb the depths of the human psyche. They are assemblies of high- and pop-cultural quotations, citing classic movies, experimental films, and YouTube clips in equal measure. Cytter represents a young generation of artists who break all genre boundaries. Her three events are each devoted to one state or element under the motto "Fear, Fun and Fire." The author Charles Arsène-Henry and the premiere of Cytter's horror movie Don't Touch Me Psychopath instill fear. Critic and author Diedrich Diederichsen, the London punk band Maria and the Mirrors, and the performers Andrew Kerton and Dafna Maimon provide joy. The performers Susie Meyer and Fabian Stumm, cultural theorist Philipp Kleinmichel, and the music of underground star John Maus ignite.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Charles Arsène-Henry (London) Diedrich Diederichsen (Berlin/Wien) Andrew Kerton (Berlin) Philipp Kleinmichel (Berlin) Dafna Maimon (Berlin) Maria and the Mirrors (London) John Maus (Minneapolis) Susie Meyer (Berlin) Fabian Stumm (Berlin)
Mittwoch, 23. März - Freitag, 25. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 23. März
19:00 – 19:45 Charles Arsène-Henry / Lecture performance
20:30 – 22:00 Keren Cytter, Don‘t touch me psychopath / Film (Premiere)
Donnerstag 24. März
19:00 – 19:45 Diedrich Diederichsen / Talk
20:15 – 20:45 Andrew Kerton & Dafna Maimon / Performance (Premiere)
21:30 – 22:30 Maria and the Mirrors / Music
Freitag 25. März
19:00 – 19:45 Philipp Kleinmichel / Talk
20:15 – 20:45 Keren Cytter, Showreal / Performance (Premiere)
21:30 – 22.30 John Maus / Music
The Israeli artist Keren Cytter shoots videos, choreographs dance performances, writes novellas, and has even penned an opera libretto. Her film works deal with human relationships and plumb the depths of the human psyche. They are assemblies of high- and pop-cultural quotations, citing classic movies, experimental films, and YouTube clips in equal measure. Cytter represents a young generation of artists who break all genre boundaries. Her three events are each devoted to one state or element under the motto "Fear, Fun and Fire." The author Charles Arsène-Henry and the premiere of Cytter's horror movie Don't Touch Me Psychopath instill fear. Critic and author Diedrich Diederichsen, the London punk band Maria and the Mirrors, and the performers Andrew Kerton and Dafna Maimon provide joy. The performers Susie Meyer and Fabian Stumm, cultural theorist Philipp Kleinmichel, and the music of underground star John Maus ignite.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: The Otolith Group
A Sunken Trembling, Recollected Dimly
Mit Lise Autogena, Rayya Badran, Justin Barton, Dopplereffekt, Mark Fisher, Reza Negarestani, Brian W. Rogers
Mittwoch, 16. März - Freitag, 18. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch, 16. März
18:00 – 18:30 NASDAQ: Vocal Index / Film
18:30 – 19:00 Samuel Stevens: Atlantropa / Film
19:00 – 20:00 Peter Hutton: At Sea / Film
20:00 – 21:00 Lise Autogena & The Otolith Group: Abstraction and System in an Age of Recessional Aesthetics / Talk
Donnerstag, 17. März
18:00 – 18:20 Brian W. Rogers, Nilofar Naraghi, Nazanin Naraghi, Aab va Garmaa / Film
18:30 – 19:00 The Otolith Group: Hydra Decapita / Film
19:00 – 20:00 The Otolith Group & Brian W. Rogers: Geoaesthetics, Terracentricity, Hydropolitics and Petropolitics / Talk
22:00 – 22:45 Werner Herzog: Lessons of Darkness / Film
Freitag, 18. März
18:00 – 18:30 The Otolith Group: The Secret King in the Empire of Thinking / Audio-essay
18:30 – 19:20 Mark Fisher: Radar Traces / Audio-essay
19:30 – 20:00 Mark Fisher & Justin Barton: LondonunderLondon / Audio-essay
19:30 – 20:00 Rayya Badran: (In)action / Audio-essay
21:00 – 22:00 Raya Baddran, Mark Fisher, Justin Barton & The Otolith Group: Radiophonic Terrains / Talk
22:00 – 22:45 Dopplereffekt / Concert
The films, curatorial projects, discussion platforms and publications of The Otolith Group explore the accumulated science fictions of the present in order to reflect upon the powers and capacities of historical futures. Founded in London in 2002, The Otolith Group consists of artist Anjalika Sagar and artist and writer Kodwo Eshun who teaches at Goldsmiths College in London and is the author of "More Brilliant than the Sun: Adventures in Sonic Fiction". The artists take their name from the otoliths – the calcium carbonate micro-crystals found within the inner ear that are responsible for balance. Their work was shown in solo exhibitions such as "A Long Time Between the Suns: Part I and Part II" (Gasworks and The Showroom, London, 2009) and "Thoughtform" (Macba Barcelona, 2011). Group exhibitions include Manifesta 8: The European Biennal of Contemporary Art, Murcia, (2010), Universes in Universe: 29th Sao Paolo Biennal (2010), the 7th Shanghai Biennale (2008), 2nd International Biennial of Contemporary Art of Seville (2006) and New British Art: Tate Triennial (2006). In 2010, The Otolith Group was nominated for the Turner Prize.
For "Globe" The Otolith Group has composed a program consisting of films, talks, audio-essays and a concert. Invited artists include Lise Autogena, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran, artist Justin Barton, critic, theorist, blogger and author Mark Fisher, Reza Negarestani, and legendary electronic music group Dopplereffekt.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Lise Autogena, Rayya Badran, Justin Barton, Dopplereffekt, Mark Fisher, Reza Negarestani, Brian W. Rogers
Mittwoch, 16. März - Freitag, 18. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch, 16. März
18:00 – 18:30 NASDAQ: Vocal Index / Film
18:30 – 19:00 Samuel Stevens: Atlantropa / Film
19:00 – 20:00 Peter Hutton: At Sea / Film
20:00 – 21:00 Lise Autogena & The Otolith Group: Abstraction and System in an Age of Recessional Aesthetics / Talk
Donnerstag, 17. März
18:00 – 18:20 Brian W. Rogers, Nilofar Naraghi, Nazanin Naraghi, Aab va Garmaa / Film
18:30 – 19:00 The Otolith Group: Hydra Decapita / Film
19:00 – 20:00 The Otolith Group & Brian W. Rogers: Geoaesthetics, Terracentricity, Hydropolitics and Petropolitics / Talk
22:00 – 22:45 Werner Herzog: Lessons of Darkness / Film
Freitag, 18. März
18:00 – 18:30 The Otolith Group: The Secret King in the Empire of Thinking / Audio-essay
18:30 – 19:20 Mark Fisher: Radar Traces / Audio-essay
19:30 – 20:00 Mark Fisher & Justin Barton: LondonunderLondon / Audio-essay
19:30 – 20:00 Rayya Badran: (In)action / Audio-essay
21:00 – 22:00 Raya Baddran, Mark Fisher, Justin Barton & The Otolith Group: Radiophonic Terrains / Talk
22:00 – 22:45 Dopplereffekt / Concert
The films, curatorial projects, discussion platforms and publications of The Otolith Group explore the accumulated science fictions of the present in order to reflect upon the powers and capacities of historical futures. Founded in London in 2002, The Otolith Group consists of artist Anjalika Sagar and artist and writer Kodwo Eshun who teaches at Goldsmiths College in London and is the author of "More Brilliant than the Sun: Adventures in Sonic Fiction". The artists take their name from the otoliths – the calcium carbonate micro-crystals found within the inner ear that are responsible for balance. Their work was shown in solo exhibitions such as "A Long Time Between the Suns: Part I and Part II" (Gasworks and The Showroom, London, 2009) and "Thoughtform" (Macba Barcelona, 2011). Group exhibitions include Manifesta 8: The European Biennal of Contemporary Art, Murcia, (2010), Universes in Universe: 29th Sao Paolo Biennal (2010), the 7th Shanghai Biennale (2008), 2nd International Biennial of Contemporary Art of Seville (2006) and New British Art: Tate Triennial (2006). In 2010, The Otolith Group was nominated for the Turner Prize.
For "Globe" The Otolith Group has composed a program consisting of films, talks, audio-essays and a concert. Invited artists include Lise Autogena, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran, artist Justin Barton, critic, theorist, blogger and author Mark Fisher, Reza Negarestani, and legendary electronic music group Dopplereffekt.
Die Veranstaltungen finden in englischer Sprache statt.
Donnerstag, 3. März 2011
GLOBE
Apparatjik, Ei Arakawa, Cao Fei, Keren Cytter, Rabih Mroué, Planningtorock, The Otolith Group
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
2. März - 15. April 2011, Mittwoch - Freitag, 17 - 24 Uhr
im Erdgeschoss der Deutsche Bank Türme, Taunusanlage 12, 60325 Frankfurt
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that will unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank towers. Each week will be shaped by a different international artist and his or her guests.
Apparatjik
Mittwoch, 2. März
17:00 – 18:00 apparat tv
18:00 – 19:00 Louise Lockwood, Parallel Worlds Film
19:00 – 19:30 Blacksmoke, The Danger Global Warming project Film
19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining Creativity. Creating Sustainability Talk
20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark Film (Premiere); On Multiverses, an interview with Max Tegmark Film (Premiere)
22:00 – 23:00 Ipad Disco Combat Performance (Premiere)
Donnerstag, 3. März
17:00 – 19:00 apparat tv
19:00 – 20:00 Laura Anderson Barbata, 21st Century Living in the Amazon: In the Order of Chaos Talk
20:00 – 21:00 Bruce Parry, Amazon, Survival International, Mine – Story of a Sacred Mountain, The Things They Said Film
21:00 – 22:00 Apparatjik, Laura Anderson Barbata & Linda Poppe Talk
22:00 – 23:00 Blacksmoke, The Danger Global Warming project Film
Freitag, 4. März
17:00 – 18:30 Lucy Walker: Waste Land Film
19:00 – 20:30 Holger Hagge, Nikolaus Hirsch, Joseph Grima, Building Cubes Talk
21:00 – 22:00 Talk Apparatjik, Holger Hagge, Nikolaus Hirsch & Joseph Grima
22:00 – 23:00 Apparatjik Ipad Disco Combat Performance
Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental platform and collaborates with media technicians, designers, and scientists. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective as artistic director on special occasions.
Apparatjik's live debut took place in 2010 at the Berlin club WMF in a cube inspired by László Moholy-Nagy's legendary Light-Space-Modulator. Live Guests of Apparatjik are Mexican artist Laura Anderson Barbata; Linda Poppe, Survival International Germany; Holger Hagge, chief architect at Deutsche Bank; Nikolaus Hirsch, rector of Städelschule, Joseph Grima, editor-in-chief Domus magazine; and musician Erik Ljunggren.
Die Veranstaltungen finden in englischer Sprache statt.
Programm download
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
2. März - 15. April 2011, Mittwoch - Freitag, 17 - 24 Uhr
im Erdgeschoss der Deutsche Bank Türme, Taunusanlage 12, 60325 Frankfurt
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that will unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank towers. Each week will be shaped by a different international artist and his or her guests.
Apparatjik
Mittwoch, 2. März
17:00 – 18:00 apparat tv
18:00 – 19:00 Louise Lockwood, Parallel Worlds Film
19:00 – 19:30 Blacksmoke, The Danger Global Warming project Film
19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining Creativity. Creating Sustainability Talk
20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark Film (Premiere); On Multiverses, an interview with Max Tegmark Film (Premiere)
22:00 – 23:00 Ipad Disco Combat Performance (Premiere)
Donnerstag, 3. März
17:00 – 19:00 apparat tv
19:00 – 20:00 Laura Anderson Barbata, 21st Century Living in the Amazon: In the Order of Chaos Talk
20:00 – 21:00 Bruce Parry, Amazon, Survival International, Mine – Story of a Sacred Mountain, The Things They Said Film
21:00 – 22:00 Apparatjik, Laura Anderson Barbata & Linda Poppe Talk
22:00 – 23:00 Blacksmoke, The Danger Global Warming project Film
Freitag, 4. März
17:00 – 18:30 Lucy Walker: Waste Land Film
19:00 – 20:30 Holger Hagge, Nikolaus Hirsch, Joseph Grima, Building Cubes Talk
21:00 – 22:00 Talk Apparatjik, Holger Hagge, Nikolaus Hirsch & Joseph Grima
22:00 – 23:00 Apparatjik Ipad Disco Combat Performance
Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental platform and collaborates with media technicians, designers, and scientists. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective as artistic director on special occasions.
Apparatjik's live debut took place in 2010 at the Berlin club WMF in a cube inspired by László Moholy-Nagy's legendary Light-Space-Modulator. Live Guests of Apparatjik are Mexican artist Laura Anderson Barbata; Linda Poppe, Survival International Germany; Holger Hagge, chief architect at Deutsche Bank; Nikolaus Hirsch, rector of Städelschule, Joseph Grima, editor-in-chief Domus magazine; and musician Erik Ljunggren.
Die Veranstaltungen finden in englischer Sprache statt.
Programm download
Samstag, 15. Januar 2011
Natascha Sadr Haghighian
Vortrag
Natascha Sadr Haghighian: looking awry - the geometry of a cross-eyed subject
Dienstag, 18. Januar 2011, 19 Uhr, Aula
„Recently it seemed necessary to reconstruct situations geometrically in order to understand why I sometimes suddenly start going cross-eyed in a strange sort of way. Not that I am seeing double; instead, a hole develops exactly in the middle of my field of vision. It permits me to look only at the margins of an event. What kinds of events do this to my vision and what happens on the margins of a visual event? This presentation tries to recap a few examples of such situations and discuss a potential practice of the cross-eyed subject.“
Natascha Sadr Haghighian was born in Sachsenheim, Germany in 1968 and lives and works in Great Britain. In 1985 he emigrated to the U.S.A. to set up a ranch. There he fell in love with a Drag Queen, with whom he still lives together. He has been working since 2002 as a freelance artist and living in the Cotswolds, Great Britain. Through his lover he discovered, and in time conquered the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things. (This biographical note is borrowed from www.bioswop.net)
Die Veranstaltung findet in englischer Sprache statt.
Natascha Sadr Haghighian: looking awry - the geometry of a cross-eyed subject
Dienstag, 18. Januar 2011, 19 Uhr, Aula
„Recently it seemed necessary to reconstruct situations geometrically in order to understand why I sometimes suddenly start going cross-eyed in a strange sort of way. Not that I am seeing double; instead, a hole develops exactly in the middle of my field of vision. It permits me to look only at the margins of an event. What kinds of events do this to my vision and what happens on the margins of a visual event? This presentation tries to recap a few examples of such situations and discuss a potential practice of the cross-eyed subject.“
Natascha Sadr Haghighian was born in Sachsenheim, Germany in 1968 and lives and works in Great Britain. In 1985 he emigrated to the U.S.A. to set up a ranch. There he fell in love with a Drag Queen, with whom he still lives together. He has been working since 2002 as a freelance artist and living in the Cotswolds, Great Britain. Through his lover he discovered, and in time conquered the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things. (This biographical note is borrowed from www.bioswop.net)
Die Veranstaltung findet in englischer Sprache statt.
Freitag, 14. Januar 2011
Atarimae-No-Koto (a matter of course)
Performance
Sadaharu Horio & KUKI: "Atarimae-No-Koto (a matter of course)"
Mi. 02.02.2011 19:00, Frankfurt LAB, Schmidtstr. 12, Frankfurt am Main
Eröffnung
Mittwoch 2. Februar 19-21h
Performance
Donnerstag 3. Februar 19-21h
Performance
Freitag, 4. Februar 17-19h
Performance
Samstag, 5. Februar 17-19h
Performance
Sonntag, 6. Februar 15-19h
Als Mitglied der legendären Avantgarde-Bewegung Gutai arbeitet der japanische Künstler Sadaharu Horio seit vielen Jahren unter dem allgemeinen Topos “Atarimae-no-koto” (a matter of course). Im Rahmen der Frankfurter Positionen 2011 entwickelt er ein Objekt, das sich als papierenes Faltbild umschreiben ließe. Den Prozess dorthin präsentiert er über fünf Tage hinweg gemeinsam mit Assistenten seines Teams „KUKI“. In einer Folge von Performances ohne im Voraus exakt festgeschriebene Abläufe, aber immer in konkretem Bezug auf den Raum und dessen Bedingungen bildet sich allmählich das Kunstwerk heraus. Die einzelnen Entstehungsphasen vom Falten eines Papiers in raumgreifendem Format bis zu experimentellen Formen des Farbauftrags werden für das Publikum sichtbar gemacht.
Sadaharu Horio & KUKI: "Atarimae-No-Koto (a matter of course)"
Mi. 02.02.2011 19:00, Frankfurt LAB, Schmidtstr. 12, Frankfurt am Main
Eröffnung
Mittwoch 2. Februar 19-21h
Performance
Donnerstag 3. Februar 19-21h
Performance
Freitag, 4. Februar 17-19h
Performance
Samstag, 5. Februar 17-19h
Performance
Sonntag, 6. Februar 15-19h
Als Mitglied der legendären Avantgarde-Bewegung Gutai arbeitet der japanische Künstler Sadaharu Horio seit vielen Jahren unter dem allgemeinen Topos “Atarimae-no-koto” (a matter of course). Im Rahmen der Frankfurter Positionen 2011 entwickelt er ein Objekt, das sich als papierenes Faltbild umschreiben ließe. Den Prozess dorthin präsentiert er über fünf Tage hinweg gemeinsam mit Assistenten seines Teams „KUKI“. In einer Folge von Performances ohne im Voraus exakt festgeschriebene Abläufe, aber immer in konkretem Bezug auf den Raum und dessen Bedingungen bildet sich allmählich das Kunstwerk heraus. Die einzelnen Entstehungsphasen vom Falten eines Papiers in raumgreifendem Format bis zu experimentellen Formen des Farbauftrags werden für das Publikum sichtbar gemacht.
The Frankfurt Conversation
Sonntag, 30. Januar 2011, ab 16 Uhr
im Chagallsaal Schauspiel Frankfurt
The Frankfurt Conversation
Hans Ulrich Obrist & Nikolaus Hirsch
Ein Projekt der Städelschule im Rahmen der Frankfurter Positionen 2011 - eine Initiative der BHF-BANK-Stiftung
Nach dem Vorbild des Serpentine Marathon, wie er seit 2005 in London und andernorts stattfindet, inszeniert der Kurator Hans Ulrich Obrist gemeinsam mit dem Städelschule-Rektor Nikolaus Hirsch "The Frankfurt Conversation". Frankfurterinnen und Frankfurter aus Kunst, Kultur und Wissenschaft werden jeweils eine Etappe des Gesprächs-Marathons übernehmen.
Hans Ulrich Obrist entwickelte die Idee zum inzwischen etablierten Interview-Marathon als experimentelle Form eines öffentlichen Events, das durch sein offenes Konzept eine Verknüpfung von Vortrag, Diskussion und Performance erlaubt. Der hybride Mix von Persönlichkeiten und ihren Präsentationsweisen lässt die verschiedenen Inhalte miteinander korrelieren und eröffnet neue Zusammenhänge.
Mit der Frankfurter Version eines Dauer-Gesprächs setzt Hans Ulrich Obrist jenes offene Format fort, das als Programm für die Serpentine Gallery Pavillion Commission entwickelt wurde: Seit 2000 präsentiert jährlich ein international renommierter Architekt oder Designer für die Dauer von drei Monaten seine Arbeit. – Ein Konzept, das von der Serpentine Gallery-Direktorin Julia Peyton-Jones veranlasst wurde und als regelmäßige, aber temporäre Struktur die Plattform für künstlerischen wie intellektuellen Austausch bietet. Dementsprechend fand der erste Londoner Gesprächs-Marathon unter Mitwirkung von Rem Koolhaas statt (2006), dann der so genannte Experimental Marathon (2007), Manifesto Marathon (2008), Poetry-Marathon (2009) sowie ein Mini-Marathon in Peking (Jahreswechsel 2008/2009) und Marathon Marathon in Athen (2010).
im Chagallsaal Schauspiel Frankfurt
The Frankfurt Conversation
Hans Ulrich Obrist & Nikolaus Hirsch
Ein Projekt der Städelschule im Rahmen der Frankfurter Positionen 2011 - eine Initiative der BHF-BANK-Stiftung
Nach dem Vorbild des Serpentine Marathon, wie er seit 2005 in London und andernorts stattfindet, inszeniert der Kurator Hans Ulrich Obrist gemeinsam mit dem Städelschule-Rektor Nikolaus Hirsch "The Frankfurt Conversation". Frankfurterinnen und Frankfurter aus Kunst, Kultur und Wissenschaft werden jeweils eine Etappe des Gesprächs-Marathons übernehmen.
Hans Ulrich Obrist entwickelte die Idee zum inzwischen etablierten Interview-Marathon als experimentelle Form eines öffentlichen Events, das durch sein offenes Konzept eine Verknüpfung von Vortrag, Diskussion und Performance erlaubt. Der hybride Mix von Persönlichkeiten und ihren Präsentationsweisen lässt die verschiedenen Inhalte miteinander korrelieren und eröffnet neue Zusammenhänge.
Mit der Frankfurter Version eines Dauer-Gesprächs setzt Hans Ulrich Obrist jenes offene Format fort, das als Programm für die Serpentine Gallery Pavillion Commission entwickelt wurde: Seit 2000 präsentiert jährlich ein international renommierter Architekt oder Designer für die Dauer von drei Monaten seine Arbeit. – Ein Konzept, das von der Serpentine Gallery-Direktorin Julia Peyton-Jones veranlasst wurde und als regelmäßige, aber temporäre Struktur die Plattform für künstlerischen wie intellektuellen Austausch bietet. Dementsprechend fand der erste Londoner Gesprächs-Marathon unter Mitwirkung von Rem Koolhaas statt (2006), dann der so genannte Experimental Marathon (2007), Manifesto Marathon (2008), Poetry-Marathon (2009) sowie ein Mini-Marathon in Peking (Jahreswechsel 2008/2009) und Marathon Marathon in Athen (2010).
Dienstag, 11. Januar 2011
Boris Buden
Forensic Aesthetics: Vortrag
Boris Buden: History is a corpse
Donnerstag, 13. Januar, 19 Uhr, Aula
The lecture reports on a case study in which a means of architectural visualisation are deployed to forensically analyse the historical process of desecularization. The method is highly rhetorical and can be directly translated into the liberal theory of secular state. One looks into history with a sort of forensic interest, as into a corpse that can provide useful information for the court proceedings.
Boris Buden is a writer and cultural critic based in Berlin. He received his PhD in cultural theory from Humboldt University in Berlin. In the 1990s he was editor of the magazine Arkzin in Zagreb. His publications cover the topics of philosophy, politics, cultural and art criticism. Recently published: Zone des Übergangs, Frankfurt/Main (2009).
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Boris Buden: History is a corpse
Donnerstag, 13. Januar, 19 Uhr, Aula
The lecture reports on a case study in which a means of architectural visualisation are deployed to forensically analyse the historical process of desecularization. The method is highly rhetorical and can be directly translated into the liberal theory of secular state. One looks into history with a sort of forensic interest, as into a corpse that can provide useful information for the court proceedings.
Boris Buden is a writer and cultural critic based in Berlin. He received his PhD in cultural theory from Humboldt University in Berlin. In the 1990s he was editor of the magazine Arkzin in Zagreb. His publications cover the topics of philosophy, politics, cultural and art criticism. Recently published: Zone des Übergangs, Frankfurt/Main (2009).
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Anselm Franke
Forensic Aesthetics: Vortrag
Anselm Franke: Boundary Studies - Are there Criteria for the Communication with Things?
Mittwoch, 12. Januar, 19 Uhr, Aula
What is the role of aesthetic processes in drawing the boundaries between what counts as "subjects" or "persons", and "things"? Against the backdrop of a long-term research and series of exhibitions on Animism, Franke will explore different models of accounting for, variously, the "agency", the "social life", or the "language" of things. What are the political blind spots in the divergent protocols that account of things and their role in socio-technologhical networks? What are the models of mediation?
Anselm Franke is a curator and critic based in Berlin and Brussels. From 2006- 2010, he was Director of Extra City Kunsthal Antwerp, Belgium, where he curated exhibitions such Animism (2010-2012), Mimétisme (2008) and Sergei Eisenstein: The Mexican Drawings (2009). Previously, he was curator of KW Institute for Contemporary Art in Berlin, where he co-organized exhibitions such as Territories (2003-2004) and the collaborative project No Matter How Bright the Light, the Crossing Occurs At Night (2006). He was a co-curator of Manifesta 7 in Trento, Italy, in 2008, and is part of the curatorial team of the Forum Expanded of the International Filmfestival Berlin since 2005. He is a guest lecturer at the HISK in Gent, among others, and currently completes his PhD at Goldsmiths College in London.
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Anselm Franke: Boundary Studies - Are there Criteria for the Communication with Things?
Mittwoch, 12. Januar, 19 Uhr, Aula
What is the role of aesthetic processes in drawing the boundaries between what counts as "subjects" or "persons", and "things"? Against the backdrop of a long-term research and series of exhibitions on Animism, Franke will explore different models of accounting for, variously, the "agency", the "social life", or the "language" of things. What are the political blind spots in the divergent protocols that account of things and their role in socio-technologhical networks? What are the models of mediation?
Anselm Franke is a curator and critic based in Berlin and Brussels. From 2006- 2010, he was Director of Extra City Kunsthal Antwerp, Belgium, where he curated exhibitions such Animism (2010-2012), Mimétisme (2008) and Sergei Eisenstein: The Mexican Drawings (2009). Previously, he was curator of KW Institute for Contemporary Art in Berlin, where he co-organized exhibitions such as Territories (2003-2004) and the collaborative project No Matter How Bright the Light, the Crossing Occurs At Night (2006). He was a co-curator of Manifesta 7 in Trento, Italy, in 2008, and is part of the curatorial team of the Forum Expanded of the International Filmfestival Berlin since 2005. He is a guest lecturer at the HISK in Gent, among others, and currently completes his PhD at Goldsmiths College in London.
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
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