Vortrag
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula
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. In 2010/11 he was a guest professor at the Städelschule.
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), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 31. Januar 2012
Daniel Wetzel / Rimini Protokoll
Vortrag
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Sonntag, 22. Januar 2012
Brigitte Weingart
Vortrag
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Emily Wardill
Vortrag
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Dienstag, 17. Januar 2012
John Levack Drever
Vortrag
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
Freitag, 13. Januar 2012
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