Lecture
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Mittwoch, 30. Mai 2012
Nora Schultz
Lecture
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Montag, 21. Mai 2012
Carsten Nicolai
Vortrag
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Suhail Malik
Vortrag
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Dienstag, 15. Mai 2012
Gayatri Spivak
Vortrag
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Montag, 14. Mai 2012
COSIMA VON BONIN AND MORITZ VON OSWALD
Vortrag
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
Dienstag, 8. Mai 2012
Superflex
Vortrag
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
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