Gespräch
Katharina Fritsch im Gespräch mit Julian Heynen
Freitag, 30. November 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Katharina Fritsch wird 1956 in Essen geboren. Sie ergreift zunächst das Studium Geschichte und Kunstgeschichte in Münster, wechselt jedoch 1977 die Fächer und geht an die Kunstakademie Düsseldorf, an der sie bei Fritz Schwegler bis 1984 studiert. 2001 erhält Fritsch eine Professur für Bildhauerei an der Kunstakademie Münster und seit 2010 lehrt sie an der Kunstakademie Düsseldorf.
Ihre Skulpturen, Objekte, Bilder und Installationen spielen mit der Spannung von Realität und Irrealem, von Surrealem und Unheimlichem, von Sein und Schein. In ihrer plakativen Zeichenhaftigkeit, ihrer Einprägsamkeit weisen die in veränderten medialen Zusammenhängen gezeigten Objekte durchaus Parallelen zur populären Bildwelt, zu computergenerierten Icons und Bildkürzeln oder comichaften Figuren auf.
Fritschs Objekte basieren auf einem die künstlerische »Vision« rekonstruierenden, aber zugleich auch an den industriell gefertigten figürlichen Alltagserzeugnissen ausgerichteten skulpturalen Entwicklungsprozess. Die Künstlerin bedient sich dabei aktueller Fabrikationstechniken, produziert Prototypen aus Polyester, Plastik, Plexiglas. Werke wie ihre bekannte Tischgesellschaft (1988), eine Installation männlicher Figuren an zwei Seiten eines langen, ornamental bedeckten Tisches, zeigen dies in ihrer formalisierten Figürlichkeit und der deckenden schwarz-weißen Farbigkeit der seriellen Gestalten, die dem gesamten Ensemble eine ebenso unpersönliche wie irreale Dimension verleihen. Zugleich erscheinen solche Arbeiten auch wie skulpturale Fassungen medial vermittelter Bilder, wie manifest gewordene Klischees.
Julian Heynen studierte Kunst- und Literaturgeschichte und promovierte über den amerikanischen Maler Barnett Newman. Seit den achtziger Jahren Kurator und Autor für zeitgenössische Kunst. Assistent am Wilhelm-Lehmbruck-Museum, Duisburg, Ausstellungsleiter und stellv. Direktor der Krefelder Kunstmuseen (Museum Haus Lange, Museum Haus Esters, Kaiser Wilhelm Museum). Danach Künstlerischer Leiter von K21 Kunstsammlung Nordrhein-Westfalen. Seit 2009 Künstlerischer Leiter für besondere Aufgaben bei der Kunstsammlung Nordrhein-Westfalen. 2003 und 2005 Kommissar des deutschen Pavillons auf der Biennale von Venedig, 2007 Ko-Kurator der Shanghai Biennale. 2007 bis 2010 Teilnehmer der Fernsehsendung „Bilderstreit“ (3SAT).
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Montag, 26. November 2012
Michael Stevenson
Vortrag
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller
Vortrag
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 20. November 2012
Jerry Tartaglia
Vortrag
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Charles Esche
Vortrag
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
Montag, 12. November 2012
Wolfgang Tillmans
Vortrag
Wolfgang Tillmans
Mittwoch, 14. November 2012, 19 Uhr, Lichthalle
Wolfgang Tillmans was born 1968 in Remscheid/Germany and currently lives/works in Berlin & London.
He was a full-time professor for interdisciplinary art from 2003 to 2009 and is presently a honorary professor at the Städelschule.
Since 2006 he runs the exhibition space „Between Bridges“ in London.
Tillmans first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.
Recently Tillmans' art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closley related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance.
In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.
In the year 2000, he was awarded the prestigious Turner Prize, the first non-British artist and the first photographer to receive the prize.
In this talk Wolfgang Tillmans will present work he made since 2009, when his time of regular teaching at Städelschule ended.
Die Veranstaltung findet in englischer Sprache statt.
Im Anschluss findet ein von den Studierenden ausgerichteter Umtrunk in der Mensa statt.
Wolfgang Tillmans
Mittwoch, 14. November 2012, 19 Uhr, Lichthalle
Wolfgang Tillmans was born 1968 in Remscheid/Germany and currently lives/works in Berlin & London.
He was a full-time professor for interdisciplinary art from 2003 to 2009 and is presently a honorary professor at the Städelschule.
Since 2006 he runs the exhibition space „Between Bridges“ in London.
Tillmans first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.
Recently Tillmans' art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closley related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance.
In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.
In the year 2000, he was awarded the prestigious Turner Prize, the first non-British artist and the first photographer to receive the prize.
In this talk Wolfgang Tillmans will present work he made since 2009, when his time of regular teaching at Städelschule ended.
Die Veranstaltung findet in englischer Sprache statt.
Im Anschluss findet ein von den Studierenden ausgerichteter Umtrunk in der Mensa statt.
Dienstag, 6. November 2012
Georges Didi-Hubermann
Vortrag
Georges Didi-Hubermann: Photos, Pathos, Pothos – L'«Image Vivante» Selon Roland Barthes
Institut für Kunstkritik
Freitag, 9. November 2012, 19 Uhr, Lichthalle
With more than 30 publications dedicated to the history and theory of images, Georges Didi-Huberman is one of the most recognized French intellectuals. As a philosopher and art historian, he has published prolific books such as «Ce que nous voyons, ce qui nous regarde» (1992) and «Images in Spite of all: Four Photographs from Auschwitz» (2012). Didi-Huberman teaches at the Ecole des Hautes Etudes en Sciences Sociales and curated several exhibitions including «L'Empreinte» at Centre Georges Pompidou (1997) and «ATLAS. How to Carry the World on One's Back?» at the ZKM in Karlsruhe (2011).
A Project within the Framework of the European Cultural Days of the ECB - France 2012
in Cooperation with Institut Français D' Historie en Allemagne
Georges Didi-Hubermann: Photos, Pathos, Pothos – L'«Image Vivante» Selon Roland Barthes
Institut für Kunstkritik
Freitag, 9. November 2012, 19 Uhr, Lichthalle
With more than 30 publications dedicated to the history and theory of images, Georges Didi-Huberman is one of the most recognized French intellectuals. As a philosopher and art historian, he has published prolific books such as «Ce que nous voyons, ce qui nous regarde» (1992) and «Images in Spite of all: Four Photographs from Auschwitz» (2012). Didi-Huberman teaches at the Ecole des Hautes Etudes en Sciences Sociales and curated several exhibitions including «L'Empreinte» at Centre Georges Pompidou (1997) and «ATLAS. How to Carry the World on One's Back?» at the ZKM in Karlsruhe (2011).
A Project within the Framework of the European Cultural Days of the ECB - France 2012
in Cooperation with Institut Français D' Historie en Allemagne
Gelitin
Vortrag
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
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