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.
Montag, 23. Mai 2011
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.
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