Vortrag
Ray Brassier: The Catastrophe of Time
Dienstag, 17. Dezember 2013, 19 Uhr, Aula
This talk will examine the logic of catastrophe in J.G. Ballard's 1960 story "The Voices of Time".
In Ballard's tale, catastrophe creates a temporal involution that throws linear time out of joint, generating unanticipated opportunities for cognitive discovery. These discoveries are charted through the various metaphorical transpositions that are the central resource of Ballard's writing.
Through these transpositions, catastrophe is raised from the level of aesthetic trauma into the realm of cognitive experience.
Ray Brassier is author of Nihil Unbound. Enlightenment and Extinction (2007). He is professor of philosophy at the American University in Beirut.
Der Vortrag findet in englischer Sprache statt.
Montag, 16. Dezember 2013
Sonntag, 8. Dezember 2013
Georgia Sagri
Vortrag
Georgia Sagri
Dienstag, 10. Dezember 2013, 19 Uhr, Aula
There it is: productions of subjectivities, techno-dandyism, role-collage; expressiveness is a tool. Automatons of colors, timings, states of grasping things or letting them go. What’s the matter with her? Do I really need to be she/ he or it now? I am a river. I am clicking this for you and you say hi with a certain voice of connection that assumes connecting-ness. It is horrible when you don’t know where your hand is when your mouth speaks. Although I know you have nothing to do with me, we had sex many times and I recognized we were both dead, from where it comes your horniness!? What a weird question. –Tell me. Muscle Mountain. Sunny cereal bars of the 90c, means “training a generation of individuals capable of organizing a free life for free men.” (1) Preciado calls it pharmaco-porn-power and continues: “The new pharmacological and surgical techniques set in motion tectonic construction processes that combine figurative representations derived from cinema and from architecture (editing, 3D modeling or personality design, etc.), according to which the organs, the vessels, the fluids and the molecules are converted into the prime material from which our corporality is manufactured.”(2) Is this the undoing of dialectics? What about the a-gender and the a-performance? For the sake of distancing and absence, and for the multiplicity of options I move. She moves.
(1) G. Yvetot, Emancipation. From the Anarchist Encyclopedia — S. Faure (2) Pharmaco-pornographic Politics: Towards a New Gender Ecology Beatriz Preciado, parallax, 2008, vol. 14, no. 1, 105–117
Georgia Sagri, born 1979 studied music and art in Athens and New York. At the center of her practice lies the exploration of performance as an ever-evolving field within social and visual life, interconnected, though distinct from the dialectics of representation in theatre, music and dance. In addition to performance pieces she has been developing in the past fifteen years, a great part of her artistic output comprises video and computer works, texts, installations and drawings. She was included in the Biennale de Lyon (2013), ProBio, Expo 1: MoMA PS1, New York (2013) and the Whitney Biennial (2011). She is the founder of the audio-only magazine FORTÉ (magazineforte.com) and the founder of SALOON, an on-going collaborative project.
Der Vortrag findet in englischer Sprache statt.
Georgia Sagri
Dienstag, 10. Dezember 2013, 19 Uhr, Aula
There it is: productions of subjectivities, techno-dandyism, role-collage; expressiveness is a tool. Automatons of colors, timings, states of grasping things or letting them go. What’s the matter with her? Do I really need to be she/ he or it now? I am a river. I am clicking this for you and you say hi with a certain voice of connection that assumes connecting-ness. It is horrible when you don’t know where your hand is when your mouth speaks. Although I know you have nothing to do with me, we had sex many times and I recognized we were both dead, from where it comes your horniness!? What a weird question. –Tell me. Muscle Mountain. Sunny cereal bars of the 90c, means “training a generation of individuals capable of organizing a free life for free men.” (1) Preciado calls it pharmaco-porn-power and continues: “The new pharmacological and surgical techniques set in motion tectonic construction processes that combine figurative representations derived from cinema and from architecture (editing, 3D modeling or personality design, etc.), according to which the organs, the vessels, the fluids and the molecules are converted into the prime material from which our corporality is manufactured.”(2) Is this the undoing of dialectics? What about the a-gender and the a-performance? For the sake of distancing and absence, and for the multiplicity of options I move. She moves.
(1) G. Yvetot, Emancipation. From the Anarchist Encyclopedia — S. Faure (2) Pharmaco-pornographic Politics: Towards a New Gender Ecology Beatriz Preciado, parallax, 2008, vol. 14, no. 1, 105–117
Georgia Sagri, born 1979 studied music and art in Athens and New York. At the center of her practice lies the exploration of performance as an ever-evolving field within social and visual life, interconnected, though distinct from the dialectics of representation in theatre, music and dance. In addition to performance pieces she has been developing in the past fifteen years, a great part of her artistic output comprises video and computer works, texts, installations and drawings. She was included in the Biennale de Lyon (2013), ProBio, Expo 1: MoMA PS1, New York (2013) and the Whitney Biennial (2011). She is the founder of the audio-only magazine FORTÉ (magazineforte.com) and the founder of SALOON, an on-going collaborative project.
Der Vortrag findet in englischer Sprache statt.
Montag, 2. Dezember 2013
Susan Grayson
Vortrag
Susan Grayson: Introduction to Lecture - On About Around Starting a Body of Work
Mittwoch, 4. Dezember 2013, 19 Uhr, Aula
The focus of my presentation will be about starting a body of work using my work and my milieu. Are we more influenced by history or what is simultaneously going on around us.
Artists are the best art historians. Artist needs to know what is old, what has been done, to know what is new to push the boundaries of art. In my generation and before, art history was another material and tool for making art. And every artist made their own take on art history. My generation was the first TV generation. When video became accessible, artists looked at it like TV and the potential to reach a wider audience. The students are the first generation to be born with the computer and internet. Their pool of information is infinite and immediately accessible.
Interaction and collaboration with peers are a way of dialoguing the present with art history. Some of my collaborations will be shown, including a film by Isa Genzken, Zwei Frauen Im Gefect, 1974. Other artists included in the presentation are Kathryn Bigelow, Sigmar Polke, Reiner Ruthenbeck, Mario Merz and Neil Jenney.
Susan Grayson is an artist who lives in New York working mainly with photography. She has exhibited her work in a group shows at Gagosian Gallery, Kunstverein Dusseldorf, and Queens Museum. She made the first exhibitions on a cross cultural history of sports photography in the United States and Germany.
Der Vortrag findet in englischer Sprache statt.
Susan Grayson: Introduction to Lecture - On About Around Starting a Body of Work
Mittwoch, 4. Dezember 2013, 19 Uhr, Aula
The focus of my presentation will be about starting a body of work using my work and my milieu. Are we more influenced by history or what is simultaneously going on around us.
Artists are the best art historians. Artist needs to know what is old, what has been done, to know what is new to push the boundaries of art. In my generation and before, art history was another material and tool for making art. And every artist made their own take on art history. My generation was the first TV generation. When video became accessible, artists looked at it like TV and the potential to reach a wider audience. The students are the first generation to be born with the computer and internet. Their pool of information is infinite and immediately accessible.
Interaction and collaboration with peers are a way of dialoguing the present with art history. Some of my collaborations will be shown, including a film by Isa Genzken, Zwei Frauen Im Gefect, 1974. Other artists included in the presentation are Kathryn Bigelow, Sigmar Polke, Reiner Ruthenbeck, Mario Merz and Neil Jenney.
Susan Grayson is an artist who lives in New York working mainly with photography. She has exhibited her work in a group shows at Gagosian Gallery, Kunstverein Dusseldorf, and Queens Museum. She made the first exhibitions on a cross cultural history of sports photography in the United States and Germany.
Der Vortrag findet in englischer Sprache statt.
Freitag, 22. November 2013
Douglas Gordon
Vortrag
Douglas Gordon (& special guests): DOLCE AND GABBANA OR…
Mittwoch, 27. November 2013, 19 Uhr, Aula
Douglas Gordon, born 1966 in Glasgow, Scotland, is one of the most influential contemporary video artists. Performances, sculptural installations and conceptual texts also number among his modes of expression. With his analyses and reconstructions of images drawn from collective memory and everyday culture, he lays bare fundamental patterns of perception. His oeuvre is dominated by polarities such as life and death, good and evil, guilt and innocence, as well as temptation and fear. Gordon won the Turner Prize in 1996 among many other art prizes and the following year he participated in the Venice Biennale.
He is Professor of Film at the Städelschule since 2010.
Douglas Gordon (& special guests): DOLCE AND GABBANA OR…
Mittwoch, 27. November 2013, 19 Uhr, Aula
Douglas Gordon, born 1966 in Glasgow, Scotland, is one of the most influential contemporary video artists. Performances, sculptural installations and conceptual texts also number among his modes of expression. With his analyses and reconstructions of images drawn from collective memory and everyday culture, he lays bare fundamental patterns of perception. His oeuvre is dominated by polarities such as life and death, good and evil, guilt and innocence, as well as temptation and fear. Gordon won the Turner Prize in 1996 among many other art prizes and the following year he participated in the Venice Biennale.
He is Professor of Film at the Städelschule since 2010.
Kerstin Skrobanek
Vortrag
Kerstin Skrobanek: It started with a postcard: 1960s event scores between material production and conceptual art
Dienstag, 26. November 2013, 19 Uhr, Aula
In the 1960s a new category of artistic production emerged: the so called "event score", invented by Fluxus artists such as Yoko Ono, George Brecht and Benjamin Patterson. These little paper cards were not only scores for Fluxus performances but complex works which melt together the visual arts, music, poetry and theatre. These cheaply made cards refuse being precious artworks on one hand, but on the other they are not just a note on a piece of paper: Artists precisely composed their appearance and their content and created a multilayered piece of art which is not necessarily linked to a live performance. The presentation will give a survey of different kinds of event scores, will show some of their roots and will think about their role in art history after 1960.
Dr. Kerstin Skrobanek studied Art History, Applied Theatre Sciences, Archeology and the Classics in Giessen, Marburg and Thessaloniki. After a master thesis about Eva Hesse she again concentrated on the 1960s and 70s with her doctoral thesis about Mary Bauermeister and she received her PhD from Prof. Dr. Regine Prange at Goethe-University Frankfurt in 2010. Since then she worked as a museum curator at the Wilhelm-Hack-Museum in Ludwigshafen and succeeded her interest in art of the 60s and 70s with shows about Mary Bauermeister or a recently finished research project about the phenomenon of the Multiple. During the past years she published many books and articles e.g. about Yoko Ono (Schirn Kunsthalle), prints of the 1960s and 70s (Museum der Bildenden Künste Leipzig) or contemporary French art (Staatliche Kunsthalle Karlsruhe).
Kerstin Skrobanek lives and works as an independent curator and publisher in Mannheim.
Kerstin Skrobanek: It started with a postcard: 1960s event scores between material production and conceptual art
Dienstag, 26. November 2013, 19 Uhr, Aula
In the 1960s a new category of artistic production emerged: the so called "event score", invented by Fluxus artists such as Yoko Ono, George Brecht and Benjamin Patterson. These little paper cards were not only scores for Fluxus performances but complex works which melt together the visual arts, music, poetry and theatre. These cheaply made cards refuse being precious artworks on one hand, but on the other they are not just a note on a piece of paper: Artists precisely composed their appearance and their content and created a multilayered piece of art which is not necessarily linked to a live performance. The presentation will give a survey of different kinds of event scores, will show some of their roots and will think about their role in art history after 1960.
Dr. Kerstin Skrobanek studied Art History, Applied Theatre Sciences, Archeology and the Classics in Giessen, Marburg and Thessaloniki. After a master thesis about Eva Hesse she again concentrated on the 1960s and 70s with her doctoral thesis about Mary Bauermeister and she received her PhD from Prof. Dr. Regine Prange at Goethe-University Frankfurt in 2010. Since then she worked as a museum curator at the Wilhelm-Hack-Museum in Ludwigshafen and succeeded her interest in art of the 60s and 70s with shows about Mary Bauermeister or a recently finished research project about the phenomenon of the Multiple. During the past years she published many books and articles e.g. about Yoko Ono (Schirn Kunsthalle), prints of the 1960s and 70s (Museum der Bildenden Künste Leipzig) or contemporary French art (Staatliche Kunsthalle Karlsruhe).
Kerstin Skrobanek lives and works as an independent curator and publisher in Mannheim.
Dienstag, 5. November 2013
Chris Kraus
Vortrag
Chris Kraus: Jason Rhoades, American Artist
Mittwoch, 6. November 2013, 19 Uhr, Aula
Recently, the ICA Philadelphia showed four installations by Jason Rhoades to be navigated by four interpretive paths or roads: Jason Rhoades, American Artist; Jason the Mason, (a biographical thread named for a childhood nickname); systems (language, scale, indexing, economies), and taboo. The exhibition aims to open up for investigation Rhoades's spectacular, overloaded installations. Immediately accessible and eye-catching, these works are at the same time deeply systematic, detailed, and rewarding of careful engagement. Using neon, plastic buckets, power tools, snaking wires, figurines, sound, and a vast range of other materials, including a V-8 engine, Rhoades's work brings the viewer in with humor, vibrancy, and the provocative audacity of his vision. Rhoades' prodigious work has always been intensely physical, gleefully vulgar, "offensive," but at the same time as affect-less as the demeanor of an idiot savant or made-for-TV serial killer.
Chris Kraus is presenting a lecture on the artist Jason Rhoades. It was originally given at the ICA. She is a writer, filmmaker, and professor of film at Eupean Graduate School in Saas-Fee. She is well known for her role as an influential film and video maker in the New York Downtown scene of the mid eighties. Kraus’ firm attention to specifically women writers is responsible for Semiotext(e), Native Agents Imprint to be a platform for groundbreaking avant-garde work. Writer and filmmaker, Chris Kraus has explored a variety of different subjects ranging from feminism, gender politics, sex workers, philosophy and love.
Der Vortrag findet in englischer Sprache statt.
Chris Kraus: Jason Rhoades, American Artist
Mittwoch, 6. November 2013, 19 Uhr, Aula
Recently, the ICA Philadelphia showed four installations by Jason Rhoades to be navigated by four interpretive paths or roads: Jason Rhoades, American Artist; Jason the Mason, (a biographical thread named for a childhood nickname); systems (language, scale, indexing, economies), and taboo. The exhibition aims to open up for investigation Rhoades's spectacular, overloaded installations. Immediately accessible and eye-catching, these works are at the same time deeply systematic, detailed, and rewarding of careful engagement. Using neon, plastic buckets, power tools, snaking wires, figurines, sound, and a vast range of other materials, including a V-8 engine, Rhoades's work brings the viewer in with humor, vibrancy, and the provocative audacity of his vision. Rhoades' prodigious work has always been intensely physical, gleefully vulgar, "offensive," but at the same time as affect-less as the demeanor of an idiot savant or made-for-TV serial killer.
Chris Kraus is presenting a lecture on the artist Jason Rhoades. It was originally given at the ICA. She is a writer, filmmaker, and professor of film at Eupean Graduate School in Saas-Fee. She is well known for her role as an influential film and video maker in the New York Downtown scene of the mid eighties. Kraus’ firm attention to specifically women writers is responsible for Semiotext(e), Native Agents Imprint to be a platform for groundbreaking avant-garde work. Writer and filmmaker, Chris Kraus has explored a variety of different subjects ranging from feminism, gender politics, sex workers, philosophy and love.
Der Vortrag findet in englischer Sprache statt.
Susanne Gaensheimer
Vortrag
Susanne Gaensheimer: Der Deutsche Pavillon in Venedig: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh
Dienstag, 5. November 2013, 18 Uhr, Campus Bockenheim, Jügelhaus HB
Masterstudiengang Kuratieren und Kritik
Susanne Gaensheimer setzt in dem Konzept für den diesjährigen Deutschen Pavillon auf der 55. Internationalen Kunstausstellung – La Biennale di Venezia 2013 die kritische Beschäftigung mit der Bedeutung der traditionellen Form nationaler Repräsentation in den Länderpavillons fort, die sie bereits in der Zusammenarbeit mit Christoph Schlingensief für den Deutschen Pavillon 2011 begonnen hatte. Die Kuratorin schlägt vor, das Format des Länderpavillons als ein offenes Konzept und Deutschland nicht als hermetische nationale Einheit, sondern als aktiven Teil eines komplexen, weltweiten Netzwerkes zu verstehen. Aus diesem Grund hat Susanne Gaensheimer vier internationale KünstlerInnen aus unterschiedlichen Ländern eingeladen: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh.
Susanne Gaensheimer ist Kunsthistorikerin und Direktorin des MMK Museum für Moderne Kunst in Frankfurt am Main. Sie ist (zum zweiten Mal nach 2011) Kuratorin für den Deutschen Pavillon auf der 55. Biennale in Venedig 2013.
Susanne Gaensheimer: Der Deutsche Pavillon in Venedig: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh
Dienstag, 5. November 2013, 18 Uhr, Campus Bockenheim, Jügelhaus HB
Masterstudiengang Kuratieren und Kritik
Susanne Gaensheimer setzt in dem Konzept für den diesjährigen Deutschen Pavillon auf der 55. Internationalen Kunstausstellung – La Biennale di Venezia 2013 die kritische Beschäftigung mit der Bedeutung der traditionellen Form nationaler Repräsentation in den Länderpavillons fort, die sie bereits in der Zusammenarbeit mit Christoph Schlingensief für den Deutschen Pavillon 2011 begonnen hatte. Die Kuratorin schlägt vor, das Format des Länderpavillons als ein offenes Konzept und Deutschland nicht als hermetische nationale Einheit, sondern als aktiven Teil eines komplexen, weltweiten Netzwerkes zu verstehen. Aus diesem Grund hat Susanne Gaensheimer vier internationale KünstlerInnen aus unterschiedlichen Ländern eingeladen: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh.
Susanne Gaensheimer ist Kunsthistorikerin und Direktorin des MMK Museum für Moderne Kunst in Frankfurt am Main. Sie ist (zum zweiten Mal nach 2011) Kuratorin für den Deutschen Pavillon auf der 55. Biennale in Venedig 2013.
Montag, 1. Juli 2013
Beatriz Colomina
Vortrag
Städelschule Architecture Class
Dean's Honorary Lecture
Beatriz Colomina: The Total Interior: Playboy Architecture 1953–1979
Donnerstag, 4. Juli 2013, 19:30 Uhr, Deutsches Architekturmuseum, Schaumainkai 43
The Dean’s Honorary Lecture 2013 is delivered by world-renowned architectural historian and theorist Beatriz Colomina, professor in History and Theory of Architecture at Princeton University School of Architecture, where she is also the Director of Graduate Studies, Ph.D. Program as well as the founding Director of the Program in Media and Modernity.
Colomina has taught at Princeton since 1988. Her 'Program in Media and Modernity' is a graduate programme that promotes the interdisciplinary study of forms of culture that came to prominence during the last century and looks at the interplay between culture and technology. In 2006-2007 she curated, with a group of Princeton Ph.D. students, the exhibition “Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X” at the Storefront for Art and Architecture in New York and the Canadian Centre for Architecture (CCA) in Montreal. The exhibition has also been shown at, amongst other places, the Museum of Design of Barcelona, the Colegio de Arquitectos de Murcia and the NAI Maastricht . An exhibition catalog has appeared from ACTAR. Colomina has written extensively on questions of architecture and media. Her books include Privacy and Publicity: Modern Architecture as Mass Media (The MIT Press, 1994); Domesticity at War (ACTAR and MIT Press, 2007); Sexuality and Space (Princeton Architectural Press, 1992); and Architectureproduction (Princeton Architectural Press, 1988). Colomina has written numerous other publications and presented lectures throughout the world.
Her lecture on 'The Total Interior' frames how sex, architecture and design have been inextricably intertwined in the pages of Playboy magazine. Sexual fantasies and architectural fantasies were inseparable. Architecture turned out to be more seductive than the playmates; it was the ultimate playmate. It could be argued that, with its massive global circulation and sexualization of architecture, Playboy had more influence on the dissemination of modern design than professional magazines, interiors magazines, and even institutions like the Museum of Modern Art.
Die Veranstaltung findet in englischer Sprache statt.
Städelschule Architecture Class
Dean's Honorary Lecture
Beatriz Colomina: The Total Interior: Playboy Architecture 1953–1979
Donnerstag, 4. Juli 2013, 19:30 Uhr, Deutsches Architekturmuseum, Schaumainkai 43
The Dean’s Honorary Lecture 2013 is delivered by world-renowned architectural historian and theorist Beatriz Colomina, professor in History and Theory of Architecture at Princeton University School of Architecture, where she is also the Director of Graduate Studies, Ph.D. Program as well as the founding Director of the Program in Media and Modernity.
Colomina has taught at Princeton since 1988. Her 'Program in Media and Modernity' is a graduate programme that promotes the interdisciplinary study of forms of culture that came to prominence during the last century and looks at the interplay between culture and technology. In 2006-2007 she curated, with a group of Princeton Ph.D. students, the exhibition “Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X” at the Storefront for Art and Architecture in New York and the Canadian Centre for Architecture (CCA) in Montreal. The exhibition has also been shown at, amongst other places, the Museum of Design of Barcelona, the Colegio de Arquitectos de Murcia and the NAI Maastricht . An exhibition catalog has appeared from ACTAR. Colomina has written extensively on questions of architecture and media. Her books include Privacy and Publicity: Modern Architecture as Mass Media (The MIT Press, 1994); Domesticity at War (ACTAR and MIT Press, 2007); Sexuality and Space (Princeton Architectural Press, 1992); and Architectureproduction (Princeton Architectural Press, 1988). Colomina has written numerous other publications and presented lectures throughout the world.
Her lecture on 'The Total Interior' frames how sex, architecture and design have been inextricably intertwined in the pages of Playboy magazine. Sexual fantasies and architectural fantasies were inseparable. Architecture turned out to be more seductive than the playmates; it was the ultimate playmate. It could be argued that, with its massive global circulation and sexualization of architecture, Playboy had more influence on the dissemination of modern design than professional magazines, interiors magazines, and even institutions like the Museum of Modern Art.
Die Veranstaltung findet in englischer Sprache statt.
Ed Atkins
Vortrag
Ed Atkins: Flat and Depressed
Dienstag, 2. Juli 2013, 19 Uhr, Aula
Known for his high-definition videos that defy narrative conventions, Ed Atkins (*1982, UK) works with filmic and text-based forms in technological transition. The artist considers HD technology deathlike because of how it intensifies the visibility of the filmed subject, creating an image that prioritizes its own representation over the language, character, and emotions of the figures it depicts. Often creating installations that include collage, drawing, and other mediums, the artist deploys this bodiless movie format to highlight the conflicting intimacies that today’s mechanisms of cultural production represent and allow us to achieve.
Atkins graduated with an MA from the Slade School of Art in 2009. In 2011 he was included in the group exhibition ‘Time Again’ at SculptureCenter, NY; co-organised ‘A Dying Artist’ at The ICA, London; was shortlisted for the Jarman Award, and had a solo show at Cabinet Gallery, London. He has been commissioned by Frieze Film and Channel 4, and had a solo presentation for Art Now at Tate Britain entitled ‘A Tumour (In English)’. In 2012 his work was exhibited as part of ‘Tomorrow Never Knows’ at JVA at Jerwood Space, London and he had solo projects at Chisenhale Gallery, London, Kunstverein Bonn and Isabella Bortolozzi Galerie, Berlin. In November 2012 he was one of eight recipients of the Paul Hamlyn Award. Recent exhibitions in 2013 include "Or tears, of course", Temple Bar Gallery & Studios in Dublin, Ed Atkins - MoMA PS1 and the Venice Biennale. Atkins is based in London and represented by Cabinet Gallery.
Die Veranstaltung findet in englischer Sprache statt.
Ed Atkins: Flat and Depressed
Dienstag, 2. Juli 2013, 19 Uhr, Aula
Known for his high-definition videos that defy narrative conventions, Ed Atkins (*1982, UK) works with filmic and text-based forms in technological transition. The artist considers HD technology deathlike because of how it intensifies the visibility of the filmed subject, creating an image that prioritizes its own representation over the language, character, and emotions of the figures it depicts. Often creating installations that include collage, drawing, and other mediums, the artist deploys this bodiless movie format to highlight the conflicting intimacies that today’s mechanisms of cultural production represent and allow us to achieve.
Atkins graduated with an MA from the Slade School of Art in 2009. In 2011 he was included in the group exhibition ‘Time Again’ at SculptureCenter, NY; co-organised ‘A Dying Artist’ at The ICA, London; was shortlisted for the Jarman Award, and had a solo show at Cabinet Gallery, London. He has been commissioned by Frieze Film and Channel 4, and had a solo presentation for Art Now at Tate Britain entitled ‘A Tumour (In English)’. In 2012 his work was exhibited as part of ‘Tomorrow Never Knows’ at JVA at Jerwood Space, London and he had solo projects at Chisenhale Gallery, London, Kunstverein Bonn and Isabella Bortolozzi Galerie, Berlin. In November 2012 he was one of eight recipients of the Paul Hamlyn Award. Recent exhibitions in 2013 include "Or tears, of course", Temple Bar Gallery & Studios in Dublin, Ed Atkins - MoMA PS1 and the Venice Biennale. Atkins is based in London and represented by Cabinet Gallery.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 24. Juni 2013
Restlessness in the Barn
Ausstellungseröffnung
Jana Euler, Anne Imhof, Cosima von Bonin, Lucie Stahl: Restlessness in the Barn
Samstag, 29. Juni 2013, 17 Uhr, Kunstverein Wiesbaden, mit einem Konzert von Anne Imhof um 19 Uhr
Ausstellungsdauer: 30. Juni bis 14. Juli 2013
Kuratiert von Oona-Léa von Maydell
Die Werke der vier an der Ausstellung beteiligten Künstlerinnen unterschiedlicher Generationen umfassen ein weites Spektrum. Die Grenze zwischen dem, was innerhalb und außerhalb des Bildrahmens passiert, gestaltet sich bei den in der Ausstellung präsentierten Werken fließend. Die Ausstellung umfasst Film, Video und Fotografie sowie Musik und Performance, verschiedene Definitionen von Malerei, Posterdruck und skulpturaler Praxis die diametral gegenübergestellt wird. Verschiedene Aspekte des permanenten Verwandlungsprozesses des Künstlertypen sollen auf diese Weise beleuchtet werden.
Cosima von Bonin entwirft seit 1990 die Plakate zu ihren Ausstellungen selbst. Zum ersten Mal wird hier die vollständige Plakatsammlung ihrer Einzelausstellungen gezeigt. Somit wird dieses Konvolut vollständig präsentiert und ermöglicht einen erweiterten Einblick in ihre Arbeit.
Mit der Portraitreihe von Jana Euler gewinnt die Ausstellung zusätzlich viele Gesichter: Dietrich Ceccaldi, Ruth Suckale, Wolfgang Koschmieder, Daniel Gnom, Harald Waechtler und Werner Denny heißen die Protagonisten. Ein zentrales Moment in ihrer gegenständlichen Malerei ist die Erschaffung von Identität.
Über Lucie Stahl schreibt Chris Kraus in dem Künstlerbuch Plakate Posters (Berlin, 2011): „Ich habe Lucie noch nie getroffen, aber wir leben in derselben Welt: Oellecks, Palmwedel, Schlüsselringe, Sportgetränke. So wie ich, ist sie eine selbst ernannte Reporterin. Stahls Poster beginnen mit ihrem seltsamen Hang dazu, zufällig aufgeschnappte Gesprächsfetzen, Hintergrundgedanken und flüchtige Beklemmungen aufzuschreiben.“
Am Abend der Eröffnung wird Anne Imhof ein Konzert spielen. Zudem werden von ihr zwei Videoarbeiten und eine Malerei vorgestellt und eine Malerei die eine Komposition zeigt. In ihrer Arbeit lotet sie die Grenzen zwischen Tanz und Performance aus. Viel mehr versteht sie ihre Arbeit als eine konzipierte Komposition.
Die Ausstellung ist das Abschlussprojekt von Oona-Léa von Maydell im Masterstudiengang Curatorial and Critical Studies der Goethe Universität und der Städelschule Frankfurt am Main. Selbst Künstlerin und Kuratorin ist es nicht in Maydells Interesse als Ausstellungsmacherin präkonzipierte Lösungen zu formulieren, sondern mit den eingeladenen Künstlerinnen und ihren Werken den Versuch einer gemeinsamen Findung zu beschreiben.
Jana Euler, Anne Imhof, Cosima von Bonin, Lucie Stahl: Restlessness in the Barn
Samstag, 29. Juni 2013, 17 Uhr, Kunstverein Wiesbaden, mit einem Konzert von Anne Imhof um 19 Uhr
Ausstellungsdauer: 30. Juni bis 14. Juli 2013
Kuratiert von Oona-Léa von Maydell
Die Werke der vier an der Ausstellung beteiligten Künstlerinnen unterschiedlicher Generationen umfassen ein weites Spektrum. Die Grenze zwischen dem, was innerhalb und außerhalb des Bildrahmens passiert, gestaltet sich bei den in der Ausstellung präsentierten Werken fließend. Die Ausstellung umfasst Film, Video und Fotografie sowie Musik und Performance, verschiedene Definitionen von Malerei, Posterdruck und skulpturaler Praxis die diametral gegenübergestellt wird. Verschiedene Aspekte des permanenten Verwandlungsprozesses des Künstlertypen sollen auf diese Weise beleuchtet werden.
Cosima von Bonin entwirft seit 1990 die Plakate zu ihren Ausstellungen selbst. Zum ersten Mal wird hier die vollständige Plakatsammlung ihrer Einzelausstellungen gezeigt. Somit wird dieses Konvolut vollständig präsentiert und ermöglicht einen erweiterten Einblick in ihre Arbeit.
Mit der Portraitreihe von Jana Euler gewinnt die Ausstellung zusätzlich viele Gesichter: Dietrich Ceccaldi, Ruth Suckale, Wolfgang Koschmieder, Daniel Gnom, Harald Waechtler und Werner Denny heißen die Protagonisten. Ein zentrales Moment in ihrer gegenständlichen Malerei ist die Erschaffung von Identität.
Über Lucie Stahl schreibt Chris Kraus in dem Künstlerbuch Plakate Posters (Berlin, 2011): „Ich habe Lucie noch nie getroffen, aber wir leben in derselben Welt: Oellecks, Palmwedel, Schlüsselringe, Sportgetränke. So wie ich, ist sie eine selbst ernannte Reporterin. Stahls Poster beginnen mit ihrem seltsamen Hang dazu, zufällig aufgeschnappte Gesprächsfetzen, Hintergrundgedanken und flüchtige Beklemmungen aufzuschreiben.“
Am Abend der Eröffnung wird Anne Imhof ein Konzert spielen. Zudem werden von ihr zwei Videoarbeiten und eine Malerei vorgestellt und eine Malerei die eine Komposition zeigt. In ihrer Arbeit lotet sie die Grenzen zwischen Tanz und Performance aus. Viel mehr versteht sie ihre Arbeit als eine konzipierte Komposition.
Die Ausstellung ist das Abschlussprojekt von Oona-Léa von Maydell im Masterstudiengang Curatorial and Critical Studies der Goethe Universität und der Städelschule Frankfurt am Main. Selbst Künstlerin und Kuratorin ist es nicht in Maydells Interesse als Ausstellungsmacherin präkonzipierte Lösungen zu formulieren, sondern mit den eingeladenen Künstlerinnen und ihren Werken den Versuch einer gemeinsamen Findung zu beschreiben.
Patrik Schumacher
Vortrag
Städelschule Architecture Class
Patrik Schumacher: Communication - Architecture's core competency
Donnerstag, 27. Juni 2013, 19 Uhr, Aula
As partner in Zaha Hadid Architects and Zaha Hadid's close collaborator since 1988, Patrick Schumacher is one of the leading architects worldwide. The work of the office ranks among the most influential there is, both in the professional and academic worlds. Among the many renown projects are the MAXXI Centre of Contemporary Art and Architecture in Rome, which won the Sterling Prize in 2010, and the Vitra Fire Station in Weil am Rhein. Current projects include Kartal Pendik master plan in Istanbul as well as the master plan for Singapore One North.
Patrick Schumacher studied architecture at Stuttgart University (1990) and the Southbank in London. He completed his Ph.D. at the Institute for Cultural Sciences at the University of Klagenfurt in 1999. Together with Brett Steele, he went on to lead the Design Research Laboratory at the Architectural Association in London from 1996. For a number of years, this postgraduate programme was highly successful and very influential in the academic world. Together with Zaha Hadid, Patrick Schumacher has taught a number of postgraduate studios at different universities, including University of Illinois in Chicago, Columbia University in New York, the Graduate School of Design at Harvard, and the Angewandte in Wien. He is a tenured professor at Innsbruck University.
His own books, the The Autopoiesis of Architecture, Volume 1 and 2 (John Wiley & Sons, 2010 and 2012) revolve around the question of parametric thinking and design and derive a series of consequences of this technology and methodological procedure in architecture. The second volume set forth what Schumacher refers to as 'a new agenda for architecture.'
Die Veranstaltung findet in englischer Sprache statt.
Städelschule Architecture Class
Patrik Schumacher: Communication - Architecture's core competency
Donnerstag, 27. Juni 2013, 19 Uhr, Aula
As partner in Zaha Hadid Architects and Zaha Hadid's close collaborator since 1988, Patrick Schumacher is one of the leading architects worldwide. The work of the office ranks among the most influential there is, both in the professional and academic worlds. Among the many renown projects are the MAXXI Centre of Contemporary Art and Architecture in Rome, which won the Sterling Prize in 2010, and the Vitra Fire Station in Weil am Rhein. Current projects include Kartal Pendik master plan in Istanbul as well as the master plan for Singapore One North.
Patrick Schumacher studied architecture at Stuttgart University (1990) and the Southbank in London. He completed his Ph.D. at the Institute for Cultural Sciences at the University of Klagenfurt in 1999. Together with Brett Steele, he went on to lead the Design Research Laboratory at the Architectural Association in London from 1996. For a number of years, this postgraduate programme was highly successful and very influential in the academic world. Together with Zaha Hadid, Patrick Schumacher has taught a number of postgraduate studios at different universities, including University of Illinois in Chicago, Columbia University in New York, the Graduate School of Design at Harvard, and the Angewandte in Wien. He is a tenured professor at Innsbruck University.
His own books, the The Autopoiesis of Architecture, Volume 1 and 2 (John Wiley & Sons, 2010 and 2012) revolve around the question of parametric thinking and design and derive a series of consequences of this technology and methodological procedure in architecture. The second volume set forth what Schumacher refers to as 'a new agenda for architecture.'
Die Veranstaltung findet in englischer Sprache statt.
Dorit Margreiter
Vortrag
Dorit Margreiter: Methoden der Beschreibung
Dienstag, 25. Juni 2013, 19 Uhr, Aula
Dorit Margreiter *1967, lives in Vienna and is Professor for Video and Videoinstallation at the Akademie der Bildenden Künste Vienna since 2006.
For Margreiter, debate about the preservation of late-modernist architecture provides the occasion for probing larger issues shaping our contemporary socio-cultural context: the legacy of the Modernist Movement; the ways that media representations of the built environment inform our collective imaginary; the consequences of the growing interdependence of architecture and spectacle culture.
Exhibitions (Selection): Performing Histories, Museum of Modern Art New York (2013), Tomorrow was already here, Museo Tamayo, Mexico City (2012), Description, Museo Nacional Centro de Arte Reina Sofía Madrid (2011), Modernologies, Museum Moderner Kunst, Warschau (2010) and MACBA Baercelona (2009), 53rd International Art Exhibition/La Biennale di Venezia, Österreichischer Pavillon, Venedig (2009), Locus Remix: Dorit Margreiter, MAK Center for Art and Architecture, Los Angeles (2009), Poverty Housing. Americus, Georgia, MAK Wien with Rebecca Baron (2008), analog, Galerie für zeitgenössische Kunst, Leipzig (2006), 10104 Angelo View Drive, Museum Moderner Kunst Stiftung Ludwig Wien (2004).
Die Veranstaltung findet in englischer Sprache statt.
Dorit Margreiter: Methoden der Beschreibung
Dienstag, 25. Juni 2013, 19 Uhr, Aula
Dorit Margreiter *1967, lives in Vienna and is Professor for Video and Videoinstallation at the Akademie der Bildenden Künste Vienna since 2006.
For Margreiter, debate about the preservation of late-modernist architecture provides the occasion for probing larger issues shaping our contemporary socio-cultural context: the legacy of the Modernist Movement; the ways that media representations of the built environment inform our collective imaginary; the consequences of the growing interdependence of architecture and spectacle culture.
Exhibitions (Selection): Performing Histories, Museum of Modern Art New York (2013), Tomorrow was already here, Museo Tamayo, Mexico City (2012), Description, Museo Nacional Centro de Arte Reina Sofía Madrid (2011), Modernologies, Museum Moderner Kunst, Warschau (2010) and MACBA Baercelona (2009), 53rd International Art Exhibition/La Biennale di Venezia, Österreichischer Pavillon, Venedig (2009), Locus Remix: Dorit Margreiter, MAK Center for Art and Architecture, Los Angeles (2009), Poverty Housing. Americus, Georgia, MAK Wien with Rebecca Baron (2008), analog, Galerie für zeitgenössische Kunst, Leipzig (2006), 10104 Angelo View Drive, Museum Moderner Kunst Stiftung Ludwig Wien (2004).
Die Veranstaltung findet in englischer Sprache statt.
Montag, 17. Juni 2013
Jürgen Mayer H.
Vortrag
Städelschule Architecture Class
Jürgen Mayer H.: Could Should Would
Donnerstag, 20. Juni 2013, 19 Uhr, Aula
After having studied architecture at Stuttgart University, the Cooper Union in New York and Princeton University, Jürgen Mayer H. founded his architectural firm in Berlin in 1996. About their work, the office states that it is situated ‘...at the intersection of architecture, communication and new technology. From urban planning schemes and buildings to installation work and objects with new materials, the relationship between the human body, technology and nature form the background for a new production of space.’ This has a resulted in a distinct style with a subtle emphasis on the profile of the buildings and a frequent, continuous flow across and through the surface envelopes.
Among Jürgen Mayer H.’s recent and much published buildings are the Metropol Parasol in Sevilla, Spain, and the New Airport Building in Mestia, Georgia. Both MoMA New York and SF MoMA have collected work by the office, and it is the recipient of numerous prizes, including: the Mies van der Rohe Award Emerging Architect (Special Mention, 2003), Holcim Award Bronze (2005) and Audi Urban Future Award (2010). Jürgen Mayer H. has taught at Princeton University, University of the Arts Berlin, Harvard University, Kunsthochschule Berlin, the Architectural Association in London, the Columbia University, New York and at the University of Toronto, Canada.
Städelschule Architecture Class
Jürgen Mayer H.: Could Should Would
Donnerstag, 20. Juni 2013, 19 Uhr, Aula
After having studied architecture at Stuttgart University, the Cooper Union in New York and Princeton University, Jürgen Mayer H. founded his architectural firm in Berlin in 1996. About their work, the office states that it is situated ‘...at the intersection of architecture, communication and new technology. From urban planning schemes and buildings to installation work and objects with new materials, the relationship between the human body, technology and nature form the background for a new production of space.’ This has a resulted in a distinct style with a subtle emphasis on the profile of the buildings and a frequent, continuous flow across and through the surface envelopes.
Among Jürgen Mayer H.’s recent and much published buildings are the Metropol Parasol in Sevilla, Spain, and the New Airport Building in Mestia, Georgia. Both MoMA New York and SF MoMA have collected work by the office, and it is the recipient of numerous prizes, including: the Mies van der Rohe Award Emerging Architect (Special Mention, 2003), Holcim Award Bronze (2005) and Audi Urban Future Award (2010). Jürgen Mayer H. has taught at Princeton University, University of the Arts Berlin, Harvard University, Kunsthochschule Berlin, the Architectural Association in London, the Columbia University, New York and at the University of Toronto, Canada.
Pamela Lee
Vortrag
Masterstudiengang Kuratieren und Kritik
Pamela Lee: Pattern Recognition circa 1947
Mittwoch, 19. Juni 2013, 19 Uhr, Aula
Pamela M. Lee is Professor of Modern and Contemporary Art in the Department of Art and Art History at Stanford University, Stanford, California. She is the author of *Object to Be Destroyed: The Work of Gordon Matta-Clark* (The MIT Press,2001); *Chronophobia: On Time in the Art of the1 1960s* (The MIT Press, 2004); *Forgetting the Art World* (The MIT Press, 2012); and most recently, *New Games: Postmodernism after Contemporary Art* (Routledge, 2012). Professor Lee is an art historian and critic whose work variously considers the relationship between art and technology, politics and aesthetics. She is a frequent contributor to magazines and journals such as Artforum, Texte zur Kunst, OCTOBER and Grey Room. Her current research concerns the aesthetic interests of the cold-war think tank as a reactionary model for interdisciplinary thinking and visual culture studies, and its implications for the art and the academy today.
"Pattern Recognition circa 1947" throws new light on an episode in the recent history of art: namely, the relationship between abstract expressionism, the cold war and mid-century anthropology. While a considerable literature on New York School painting describes anthropology's investment in such work in terms of terms of its primitivist sensibilities, Lee offers a radically new approach to the topic, considering the ways in which a Jackson Pollock might license approaches to the visual image formulated in the cold-war think tank. In particular she considers the work of Ruth Benedict, Margaret Mead and their colleagues at the RAND Corporation to unpack the novel new techniques and methods deployed by social scientists to test the range of contemporary visual culture from "high" art to popular culture.
Masterstudiengang Kuratieren und Kritik
Pamela Lee: Pattern Recognition circa 1947
Mittwoch, 19. Juni 2013, 19 Uhr, Aula
Pamela M. Lee is Professor of Modern and Contemporary Art in the Department of Art and Art History at Stanford University, Stanford, California. She is the author of *Object to Be Destroyed: The Work of Gordon Matta-Clark* (The MIT Press,2001); *Chronophobia: On Time in the Art of the1 1960s* (The MIT Press, 2004); *Forgetting the Art World* (The MIT Press, 2012); and most recently, *New Games: Postmodernism after Contemporary Art* (Routledge, 2012). Professor Lee is an art historian and critic whose work variously considers the relationship between art and technology, politics and aesthetics. She is a frequent contributor to magazines and journals such as Artforum, Texte zur Kunst, OCTOBER and Grey Room. Her current research concerns the aesthetic interests of the cold-war think tank as a reactionary model for interdisciplinary thinking and visual culture studies, and its implications for the art and the academy today.
"Pattern Recognition circa 1947" throws new light on an episode in the recent history of art: namely, the relationship between abstract expressionism, the cold war and mid-century anthropology. While a considerable literature on New York School painting describes anthropology's investment in such work in terms of terms of its primitivist sensibilities, Lee offers a radically new approach to the topic, considering the ways in which a Jackson Pollock might license approaches to the visual image formulated in the cold-war think tank. In particular she considers the work of Ruth Benedict, Margaret Mead and their colleagues at the RAND Corporation to unpack the novel new techniques and methods deployed by social scientists to test the range of contemporary visual culture from "high" art to popular culture.
Freitag, 7. Juni 2013
Heiner Goebbels
Vortrag
Heiner Goebbels: AN UNGUIDED TOUR - on 'aesthtics of absence' and the program of the Ruhrtriennale - International Festival of the Arts 2013
Mittwoch, 12. Juni 2013, 19 Uhr, Aula
Internationally acclaimed composer and director Heiner Goebbels, whose works epitomizes the intermedia tendencies of contemporary Performing Arts, is Professor in the Institute of Applied Theatre Studies at the University of Gießen and Artistic Director of the Festival Ruhrtriennale (2012-14); he is member of several Academies of Arts and recieved numerous awards and two Grammy Nominations.
Heiner Goebbels will discuss the Aesthetic Principles of his performances and installations, which shift 'presence' from the Visual to the Acoustics; he presents ontemporary Strategies in Performing Arts, including new works for the Festival Ruhrtriennale by Ryoji Ikeda, Douglas Gordon, William Forsythe aswell as 'Stifters Dinge - an unguided tour' by Heiner Goebbels, co-comissioned by Artangel, London.
Heiner Goebbels: AN UNGUIDED TOUR - on 'aesthtics of absence' and the program of the Ruhrtriennale - International Festival of the Arts 2013
Mittwoch, 12. Juni 2013, 19 Uhr, Aula
Internationally acclaimed composer and director Heiner Goebbels, whose works epitomizes the intermedia tendencies of contemporary Performing Arts, is Professor in the Institute of Applied Theatre Studies at the University of Gießen and Artistic Director of the Festival Ruhrtriennale (2012-14); he is member of several Academies of Arts and recieved numerous awards and two Grammy Nominations.
Heiner Goebbels will discuss the Aesthetic Principles of his performances and installations, which shift 'presence' from the Visual to the Acoustics; he presents ontemporary Strategies in Performing Arts, including new works for the Festival Ruhrtriennale by Ryoji Ikeda, Douglas Gordon, William Forsythe aswell as 'Stifters Dinge - an unguided tour' by Heiner Goebbels, co-comissioned by Artangel, London.
André Rottmann
Vortrag
André Rottmann: Spectacle and Speculation. The Tactics of John Knight.
Montag, 10. Juni 2013, 19 Uhr, Aula
On the occasion of John Knight’s current exhibition at Portikus, the lecture discusses two earlier, closely interrelated projects by the Los Angeles-based artist, both of which are based on the appropriation of media images. These works, each in its own way, address the history of US politics in the Cold War period: Worldebt (1994-2008) consists of slightly oversized credit cards issued tose the nation states in debt to the IWF and displaying images from the respective country; the work chronicles the development of the global economic system established at Bretton Woods in 1944 and by the same token, it would seem, defines the art work itself as an object of financial speculation; the installation Coldcuts (2008) conflates information on covet military interventions executed by the CIA after World War II with cookbook recipes from these "areas of operation" in a spectacular exhibition design. In tracing the shared genealogy of these two works (as well as in view of other topical projects by the artist), the talk will make the attempt to gain further insights into Knight's radical redefinition of the categories of site, image, medium and object in contemporary art and the concomitant dialectic of spectacle and speculation.
André Rottmann is an art historian and critic based in Berlin; he is a research fellow at the Institute of Advanced Study “BildEvidenz. Geschichte und Ästhetik” and a lecturer at the Department for Art History at the Freie Universität Berlin; currently, he is working on a comprehensive monograph on the work of John Knight and is the editor a collection of essays devoted to the artist (forthcoming in the OCTOBER Files series, MIT Press); his essays and reviews regularly appear in journals such as Texte zur Kunst and Artforum as well as in anthologies and exhibition catalogues (most recently on Nairy Baghramian, Florian Pumhösl, and Gabriel Orozco).
André Rottmann: Spectacle and Speculation. The Tactics of John Knight.
Montag, 10. Juni 2013, 19 Uhr, Aula
On the occasion of John Knight’s current exhibition at Portikus, the lecture discusses two earlier, closely interrelated projects by the Los Angeles-based artist, both of which are based on the appropriation of media images. These works, each in its own way, address the history of US politics in the Cold War period: Worldebt (1994-2008) consists of slightly oversized credit cards issued tose the nation states in debt to the IWF and displaying images from the respective country; the work chronicles the development of the global economic system established at Bretton Woods in 1944 and by the same token, it would seem, defines the art work itself as an object of financial speculation; the installation Coldcuts (2008) conflates information on covet military interventions executed by the CIA after World War II with cookbook recipes from these "areas of operation" in a spectacular exhibition design. In tracing the shared genealogy of these two works (as well as in view of other topical projects by the artist), the talk will make the attempt to gain further insights into Knight's radical redefinition of the categories of site, image, medium and object in contemporary art and the concomitant dialectic of spectacle and speculation.
André Rottmann is an art historian and critic based in Berlin; he is a research fellow at the Institute of Advanced Study “BildEvidenz. Geschichte und Ästhetik” and a lecturer at the Department for Art History at the Freie Universität Berlin; currently, he is working on a comprehensive monograph on the work of John Knight and is the editor a collection of essays devoted to the artist (forthcoming in the OCTOBER Files series, MIT Press); his essays and reviews regularly appear in journals such as Texte zur Kunst and Artforum as well as in anthologies and exhibition catalogues (most recently on Nairy Baghramian, Florian Pumhösl, and Gabriel Orozco).
JOHN KNIGHT & MICHAEL KREBBER
Gespräch
John Knight in discussion with Michael Krebber
Montag, 10. Juni 2013, 14 Uhr, Aula
Michael Krebber and John Knight publicly continue their discussion, which they began one month ago during Knight´s time in Frankfurt.
After the discussion, Brian Mann and André Rottmann will join them to spend the afternoon discussing the exhibition at Portikus among other things.
John Knight in discussion with Michael Krebber
Montag, 10. Juni 2013, 14 Uhr, Aula
Michael Krebber and John Knight publicly continue their discussion, which they began one month ago during Knight´s time in Frankfurt.
After the discussion, Brian Mann and André Rottmann will join them to spend the afternoon discussing the exhibition at Portikus among other things.
Dienstag, 4. Juni 2013
Tatiana Bilbao
Vortrag
Städelschule Architecture Class
Tatiana Bilbao: The way things go
Donnerstag, 6. Juni 2013, 19 Uhr, Aula
Over the last few years, Tatiana Bilbao has emerged as one of the new voices among South American architects. Based in Mexico City, where she graduated from Architecture and Urbanism at Universidad Iberoamericana in 1996, Bilbao began her career as an advisor for Urban Projects at the Urban Housing and Development Department of Mexico City in 1998-99. As advisor for the government, she was also a member of the urban council of the city. Bilbao founded her own offices in 2004 and has seen projects realised in China, Spain, France and Mexico. The same year, Bilbao co-founded an urban research centre, mxdf, together with the architects Derek Dellekamp, Arturo Ortiz and Michel Rojkind. The centre addresses the troubled urban space of Mexico City.
Since 2005, Bilbao has been a design professor at Universidad Iberoamericana, and she is currently a guest professor at the Peter Behrens School of Architecture in Düsseldorf. She has taught and lectured at many other universities around the world; in 2007 she was awarded the Design Vanguard for one of the top 10 emerging firms by Architecture Record; and in 2009 named as an Emerging Voice by the Architecture League of NY. The work of her offices include a music hall and sports centre for Irapuato, Mexico, the much published, Jinhua Architecture Park (2006), a house for the artist Gabriel Orozco in the pacific ocean, a gated community house in Ordos (China), a Botanical Garden in Culiacan, an Exhibition Room in Jinhua Architectural Park and the Mexican Pavilion for the Expo Zaragoza 2008.
Städelschule Architecture Class
Tatiana Bilbao: The way things go
Donnerstag, 6. Juni 2013, 19 Uhr, Aula
Over the last few years, Tatiana Bilbao has emerged as one of the new voices among South American architects. Based in Mexico City, where she graduated from Architecture and Urbanism at Universidad Iberoamericana in 1996, Bilbao began her career as an advisor for Urban Projects at the Urban Housing and Development Department of Mexico City in 1998-99. As advisor for the government, she was also a member of the urban council of the city. Bilbao founded her own offices in 2004 and has seen projects realised in China, Spain, France and Mexico. The same year, Bilbao co-founded an urban research centre, mxdf, together with the architects Derek Dellekamp, Arturo Ortiz and Michel Rojkind. The centre addresses the troubled urban space of Mexico City.
Since 2005, Bilbao has been a design professor at Universidad Iberoamericana, and she is currently a guest professor at the Peter Behrens School of Architecture in Düsseldorf. She has taught and lectured at many other universities around the world; in 2007 she was awarded the Design Vanguard for one of the top 10 emerging firms by Architecture Record; and in 2009 named as an Emerging Voice by the Architecture League of NY. The work of her offices include a music hall and sports centre for Irapuato, Mexico, the much published, Jinhua Architecture Park (2006), a house for the artist Gabriel Orozco in the pacific ocean, a gated community house in Ordos (China), a Botanical Garden in Culiacan, an Exhibition Room in Jinhua Architectural Park and the Mexican Pavilion for the Expo Zaragoza 2008.
Simon Critchley
Vortrag
Simon Critchley: Die Hamletlehre - knowing too much, doing nothing
Donnerstag, 6. Juni 2013, 16 Uhr, Aula
Simon Critchley is the Hans Jonas Professor of Philosophy at the New School for Social Research. He also teaches at Tilburg University and the European Graduate School. His many books include Very Little...Almost Nothing, Infinitely Demanding, The Faith of the Faithless, and The Book of Dead Philosophers, which made The New York Times bestseller list. He is series moderator of “The Stone,” a philosophy column in The New York Times, to which he is a frequent contributor.
In their book 'Stay Illusion! The Hamlet Doctrine' Simon Critchley and Jamieson Webster go in search of a particularly modern drama that is as much about ourselves as it is a product of Shakespeare’s imagination. They also offer a startling interpretation of the action onstage: it is structured around “nothing” — or, in the enigmatic words of the player queen, “it nothing must.”. Avoiding the customary clichés about the timelessness of the Bard, Critchley and Webster show the timely power of Hamlet to cast light on the intractable dilemmas of human existence in a world that is rotten and out of joint.
Simon Critchley: Die Hamletlehre - knowing too much, doing nothing
Donnerstag, 6. Juni 2013, 16 Uhr, Aula
Simon Critchley is the Hans Jonas Professor of Philosophy at the New School for Social Research. He also teaches at Tilburg University and the European Graduate School. His many books include Very Little...Almost Nothing, Infinitely Demanding, The Faith of the Faithless, and The Book of Dead Philosophers, which made The New York Times bestseller list. He is series moderator of “The Stone,” a philosophy column in The New York Times, to which he is a frequent contributor.
In their book 'Stay Illusion! The Hamlet Doctrine' Simon Critchley and Jamieson Webster go in search of a particularly modern drama that is as much about ourselves as it is a product of Shakespeare’s imagination. They also offer a startling interpretation of the action onstage: it is structured around “nothing” — or, in the enigmatic words of the player queen, “it nothing must.”. Avoiding the customary clichés about the timelessness of the Bard, Critchley and Webster show the timely power of Hamlet to cast light on the intractable dilemmas of human existence in a world that is rotten and out of joint.
Niklas Maak
Vortrag
Städelschule Architecture Class
Niklas Maak: Postfamilial Architecture. On the zombification of the city and new forms of communal dwelling
Mittwoch, 5. Juni 2013, 19 Uhr, Aula
Niklas Maak is a writer and arts editor at Frankfurt Allgemeine Zeitung. Maak studied art history, philosophy and architecture in Hamburg and Paris and completed his PhD on the work of Le Corbusier and Paul Valery in 1998. He went on to work as an art editor for Süddeutsche Zeitung before joining Frankfurter Allgemeine Zeitung in 2001. For his essay, Maak has been awarded the George F. Kennan Prize (2009) and the Henri Nannen Prize (2012). His writing, typically discovering and tracing novel historical lineages in an incisive manner, comprises an important contribution to contemporary architectural and cultural issues. His lecture will address communal dwelling in our time with certain forms of urban depravity.
Maak is the author of two books: 'Der Architekt am Strand: Le Corbusier und das Geheimnis der Seeschnecke' (2010) and 'Fahrtenbuch. Roman eines Autos' (2011).
He has been guest professor in architectural history at the Frankfurt University as well as guest professor at the Städelschule Architectural Class.
Städelschule Architecture Class
Niklas Maak: Postfamilial Architecture. On the zombification of the city and new forms of communal dwelling
Mittwoch, 5. Juni 2013, 19 Uhr, Aula
Niklas Maak is a writer and arts editor at Frankfurt Allgemeine Zeitung. Maak studied art history, philosophy and architecture in Hamburg and Paris and completed his PhD on the work of Le Corbusier and Paul Valery in 1998. He went on to work as an art editor for Süddeutsche Zeitung before joining Frankfurter Allgemeine Zeitung in 2001. For his essay, Maak has been awarded the George F. Kennan Prize (2009) and the Henri Nannen Prize (2012). His writing, typically discovering and tracing novel historical lineages in an incisive manner, comprises an important contribution to contemporary architectural and cultural issues. His lecture will address communal dwelling in our time with certain forms of urban depravity.
Maak is the author of two books: 'Der Architekt am Strand: Le Corbusier und das Geheimnis der Seeschnecke' (2010) and 'Fahrtenbuch. Roman eines Autos' (2011).
He has been guest professor in architectural history at the Frankfurt University as well as guest professor at the Städelschule Architectural Class.
Brian Mann
Vortrag
Brian Mann: Learning Through Osmosis
Dienstag, 4. Juni 2013, 19 Uhr, Aula
Brian Mann works as an artist and graphic designer, and lives in Los Angeles. He has been invited to Städelschule in the framework of John Knight's exhibition at Portikus, which they developed in close collaboration. John Knight and Brian Mann have been working together on publications since a number of years. Brian will give a lecture based on a talk given at the most recent Marxist Reading Group conference at the University of Florida. The presentation wanders around the role of decision-making and choosing in popular culture and art today.
Brian Mann: Learning Through Osmosis
Dienstag, 4. Juni 2013, 19 Uhr, Aula
Brian Mann works as an artist and graphic designer, and lives in Los Angeles. He has been invited to Städelschule in the framework of John Knight's exhibition at Portikus, which they developed in close collaboration. John Knight and Brian Mann have been working together on publications since a number of years. Brian will give a lecture based on a talk given at the most recent Marxist Reading Group conference at the University of Florida. The presentation wanders around the role of decision-making and choosing in popular culture and art today.
Montag, 13. Mai 2013
Okwui Enwezor
Vortrag
Okwui Enwezor: The Discursive Fields of Contemporary Art: Museums and Exhibitions.
Dienstag, 14. Mai 2013, 19 Uhr, Aula
Okwui Enwezor is the director of Haus der Kunst in Munich. He is a curator, an art critic, an editor and a writer. Enwezor’s wide ranging practice spans the world of international exhibitions, museums, academia, and publishing. Enwezor has held academic appointments as Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute (2005-2009); Visiting Professor in the Department of Art History and Architecture at University of Pittsburgh and University of Illinois, Urbana-Champaign, Visiting Professor at the Department of Art History and Archaeology, Columbia University, New York, and Kirk Varnedoe Visiting Professor at Institute of Fine Arts, New York University.
Amongst his numerous curatorial credits, he was Artistic Director of 2nd Johannesburg Biennale (1996-1998), Artistic Director of documenta 11, Kassel, Germany (1998-2002), Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), Artistic Director of 7th Gwangju Biennale (2008), and Artistic Director of the Paris Triennale (2012). His many exhibitions include The Short Century: Independence and Liberation Movements in Africa, 1945-1994, Museum Villa Stuck, Munich; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andaluz de Arte Contemporáneo, Seville, and Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York. He is also completing work on several projects including: The Rise and Fall of Apartheid and Sun in their Eyes: Photography and the Invention of Africa, 1839-1939, both for International Center of Photography; and 1979-1989: Art and Culture Between Revolutions.
Okwui Enwezor: The Discursive Fields of Contemporary Art: Museums and Exhibitions.
Dienstag, 14. Mai 2013, 19 Uhr, Aula
Okwui Enwezor is the director of Haus der Kunst in Munich. He is a curator, an art critic, an editor and a writer. Enwezor’s wide ranging practice spans the world of international exhibitions, museums, academia, and publishing. Enwezor has held academic appointments as Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute (2005-2009); Visiting Professor in the Department of Art History and Architecture at University of Pittsburgh and University of Illinois, Urbana-Champaign, Visiting Professor at the Department of Art History and Archaeology, Columbia University, New York, and Kirk Varnedoe Visiting Professor at Institute of Fine Arts, New York University.
Amongst his numerous curatorial credits, he was Artistic Director of 2nd Johannesburg Biennale (1996-1998), Artistic Director of documenta 11, Kassel, Germany (1998-2002), Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), Artistic Director of 7th Gwangju Biennale (2008), and Artistic Director of the Paris Triennale (2012). His many exhibitions include The Short Century: Independence and Liberation Movements in Africa, 1945-1994, Museum Villa Stuck, Munich; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andaluz de Arte Contemporáneo, Seville, and Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York. He is also completing work on several projects including: The Rise and Fall of Apartheid and Sun in their Eyes: Photography and the Invention of Africa, 1839-1939, both for International Center of Photography; and 1979-1989: Art and Culture Between Revolutions.
Montag, 6. Mai 2013
Claire Fontaine
Vortrag
Claire Fontaine
Mittwoch, 8. Mai 2013, 19 Uhr, Aula
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box - as displaced, deprived of its use value, and exchangeable as the products she makes - there is always the possibility of what she calls the "human strike." Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.
Die Veranstaltung findet in englischer Sprache statt.
Claire Fontaine
Mittwoch, 8. Mai 2013, 19 Uhr, Aula
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box - as displaced, deprived of its use value, and exchangeable as the products she makes - there is always the possibility of what she calls the "human strike." Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 29. April 2013
John Knight
Vortrag
John Knight
Dienstag, 30. April 2013, 19 Uhr, Aula
Since the early 1970s Los Angeles-based artist John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists that has consistently addressed the ideological valences of constructed space.
John Knight will speak about a selection of his in-situ projects, his artistic methodology, and the politics and complications inherent in working context-specific.
Knight recently exhibited at EACC Espai d`Art Contemporani de Castelló, Castelló (Spain), Stedelijk Museum Amsterdam (Netherlands), Whitney Museum of American Art (USA) and IAC, Villeurbanne (France).
Die Veranstaltung findet in englischer Sprache statt.
John Knight
Dienstag, 30. April 2013, 19 Uhr, Aula
Since the early 1970s Los Angeles-based artist John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists that has consistently addressed the ideological valences of constructed space.
John Knight will speak about a selection of his in-situ projects, his artistic methodology, and the politics and complications inherent in working context-specific.
Knight recently exhibited at EACC Espai d`Art Contemporani de Castelló, Castelló (Spain), Stedelijk Museum Amsterdam (Netherlands), Whitney Museum of American Art (USA) and IAC, Villeurbanne (France).
Die Veranstaltung findet in englischer Sprache statt.
Montag, 8. April 2013
Julika Rudelius
Vortrag
Julika Rudelius: Intimate Public–Rituals of Capitalism
Mittwoch, 10. April 2013, 19 Uhr, Aula
Julika Rudelius' work explores themes of emotional dependency, politics, abuse, sexuality and power. Her most recent film was made in China. Thinking about intimacy as currency, Rudelius shot young androgynous men in the streets posing seductively amidst traffic - mimicking the commercialized eroticism ingested from advertising and entertainment imagery. Juxtaposed to those images, she also shot in the homes of soap opera stars and wealthy collectors - the dwellings of people that propel the marketing machine, creating the images that the public imitates. Continually exploring the exchange of the intimate for capital, in her film shot in Washington DC, young interns of politicians exchange youth and obedience for the next step up the career ladder; in another young Moroccans look for acceptance in society and the fashion world. As her subjects reveal how they trade-in their intimate lives in front of the camera, the power structures Rudelius explores are not just subject matter - they are imbedded in her filming methodology. During production, Rudelius combines intimate therapy-like sessions with her subjects, realistically built sets designed to estrange, and audio systems which allow her to remote control actors. These themes have led to a conversation with collaborators about how images function and are distributed under capitalism and how this influences image-making and perhaps heightens the importance of narrative over images.
Julika Rudelius' work has been exhibited at the Stedelijk Museum, Amsterdam; ZKM, Karlsruhe; Brooklyn Museum, New York; Tate Modern, London; Centre Pompidou, Paris; and MOCA, North Miami among many others. Her most recent film "Rituals," was exhibited at Rudelius' recent solo show at Leo Koenig Inc., New York and had its European debut at the opening exhibition of the new Stedelijk Museum in Amsterdam, and was also exhibited at Y & C Contemporary in Taipei, Taiwan. She currently lives and works in New York and Amsterdam.
Die Veranstaltung findet in englischer Sprache statt.
Julika Rudelius: Intimate Public–Rituals of Capitalism
Mittwoch, 10. April 2013, 19 Uhr, Aula
Julika Rudelius' work explores themes of emotional dependency, politics, abuse, sexuality and power. Her most recent film was made in China. Thinking about intimacy as currency, Rudelius shot young androgynous men in the streets posing seductively amidst traffic - mimicking the commercialized eroticism ingested from advertising and entertainment imagery. Juxtaposed to those images, she also shot in the homes of soap opera stars and wealthy collectors - the dwellings of people that propel the marketing machine, creating the images that the public imitates. Continually exploring the exchange of the intimate for capital, in her film shot in Washington DC, young interns of politicians exchange youth and obedience for the next step up the career ladder; in another young Moroccans look for acceptance in society and the fashion world. As her subjects reveal how they trade-in their intimate lives in front of the camera, the power structures Rudelius explores are not just subject matter - they are imbedded in her filming methodology. During production, Rudelius combines intimate therapy-like sessions with her subjects, realistically built sets designed to estrange, and audio systems which allow her to remote control actors. These themes have led to a conversation with collaborators about how images function and are distributed under capitalism and how this influences image-making and perhaps heightens the importance of narrative over images.
Julika Rudelius' work has been exhibited at the Stedelijk Museum, Amsterdam; ZKM, Karlsruhe; Brooklyn Museum, New York; Tate Modern, London; Centre Pompidou, Paris; and MOCA, North Miami among many others. Her most recent film "Rituals," was exhibited at Rudelius' recent solo show at Leo Koenig Inc., New York and had its European debut at the opening exhibition of the new Stedelijk Museum in Amsterdam, and was also exhibited at Y & C Contemporary in Taipei, Taiwan. She currently lives and works in New York and Amsterdam.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 7. März 2013
HOME STORIES
Ausstellungseröffnung
HOME STORIES
Donnerstag, 14. März 2013, 19 Uhr
Villa 102 (ehemaliges Literaturhaus), Bockenheimer Landstraße 102, Frankfurt am Main
Bianca Baldi, Khaled Barakeh, Elif Erkan, Mahony, Maki Ishii, Michael Lee, Sathit Sattarasart & Il-Jin Atem Choi, Thabiso Sekgala, Aiko Tezuka, Marie Zolamian
Internationale Künstler – Stipendiaten des Künstlerhauses Bethanien in Berlin und Studierende der Städelschule in Frankfurt – richten die Räume des ersten Obergeschosses der Villa 102 mit ortsspezifischen Arbeiten ein. Der Titel der Ausstellung HOME STORIES verweist sowohl auf die Geschichte und die Geschichten der Villa 102 (ehemaliges Literaturhaus) als auch auf die geografische und kulturelle Verortung künstlerischer Praxis in der globalen Gegenwart.
Begrüßung:
Dr. Ulrich Schröder, Vorstand der KfW Stiftung
Christoph Tannert, Geschäftsführer des Künstlerhauses Bethanien, Berlin
Prof. Nikolaus Hirsch, Rektor der Städelschule
Ausstellungsdauer 15.3. - 28.4.2013
Öffnungszeiten täglich 10-18 Uhr, Eintritt frei.
Öffentliche Führungen mittwochs, 12.30 - 13 Uhr
Um Anmeldung zur Eröffnung bis 11. März 2013 an info@kfw-stiftung.de wird gebeten.
Eine Ausstellung der KfW Stiftung in Kooperation mit dem Künstlerhaus Bethanien Berlin, und der Staatlichen Hochschule für Bildende Künste - Städelschule, Frankfurt am Main
HOME STORIES
Donnerstag, 14. März 2013, 19 Uhr
Villa 102 (ehemaliges Literaturhaus), Bockenheimer Landstraße 102, Frankfurt am Main
Bianca Baldi, Khaled Barakeh, Elif Erkan, Mahony, Maki Ishii, Michael Lee, Sathit Sattarasart & Il-Jin Atem Choi, Thabiso Sekgala, Aiko Tezuka, Marie Zolamian
Internationale Künstler – Stipendiaten des Künstlerhauses Bethanien in Berlin und Studierende der Städelschule in Frankfurt – richten die Räume des ersten Obergeschosses der Villa 102 mit ortsspezifischen Arbeiten ein. Der Titel der Ausstellung HOME STORIES verweist sowohl auf die Geschichte und die Geschichten der Villa 102 (ehemaliges Literaturhaus) als auch auf die geografische und kulturelle Verortung künstlerischer Praxis in der globalen Gegenwart.
Begrüßung:
Dr. Ulrich Schröder, Vorstand der KfW Stiftung
Christoph Tannert, Geschäftsführer des Künstlerhauses Bethanien, Berlin
Prof. Nikolaus Hirsch, Rektor der Städelschule
Ausstellungsdauer 15.3. - 28.4.2013
Öffnungszeiten täglich 10-18 Uhr, Eintritt frei.
Öffentliche Führungen mittwochs, 12.30 - 13 Uhr
Um Anmeldung zur Eröffnung bis 11. März 2013 an info@kfw-stiftung.de wird gebeten.
Eine Ausstellung der KfW Stiftung in Kooperation mit dem Künstlerhaus Bethanien Berlin, und der Staatlichen Hochschule für Bildende Künste - Städelschule, Frankfurt am Main
Dienstag, 5. Februar 2013
Lutz Bacher
Vortrag
Lutz Bacher
Dienstag, 5. Februar 2013, 19 Uhr, Aula
Lutz Bacher’s exhibition at Portikus is the first in a series of three solo shows this year, presenting Bacher’s work to a European audience in the most encompassing way to date (Portikus, ICA London, Kunsthalle Zürich). Lutz Bacher, who lives between Berkeley and New York City, occupies an important position in contemporary artistic practice. As an artist whose age and gender have been occluded for over four decades, her work becomes as much a refuge as a vehicle to respond liberally to the urgency of political and social conditions, especially in her native America. The imagery, objects and physical spaces Lutz Bacher creates are informed by studies of ignorant and oftentimes violent human conduct such as physical abuse, treason, and complacency.
Lutz Bacher's talk will be in the format of a video presentation. She will show a 12 minute video conversation between her and New York gallerist Alex Zachary and Peter Currie in which a number of older works are discussed, along with a slideshow of other works.
Die Veranstaltung findet in englischer Sprache statt.
Lutz Bacher
Dienstag, 5. Februar 2013, 19 Uhr, Aula
Lutz Bacher’s exhibition at Portikus is the first in a series of three solo shows this year, presenting Bacher’s work to a European audience in the most encompassing way to date (Portikus, ICA London, Kunsthalle Zürich). Lutz Bacher, who lives between Berkeley and New York City, occupies an important position in contemporary artistic practice. As an artist whose age and gender have been occluded for over four decades, her work becomes as much a refuge as a vehicle to respond liberally to the urgency of political and social conditions, especially in her native America. The imagery, objects and physical spaces Lutz Bacher creates are informed by studies of ignorant and oftentimes violent human conduct such as physical abuse, treason, and complacency.
Lutz Bacher's talk will be in the format of a video presentation. She will show a 12 minute video conversation between her and New York gallerist Alex Zachary and Peter Currie in which a number of older works are discussed, along with a slideshow of other works.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 31. Januar 2013
Carsten Höller & Daniel Birnbaum
Vortrag
Carsten Höller & Daniel Birnbaum
Donnerstag, 31. Januar 2013, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Das Werk des in Schweden lebenden Künstlers Carsten Höller zählt mit seinen Installationen, Skulpturen, Videos, Zeichnungen und Fotografien zu den bedeutendsten Positionen der Gegenwart. In Höller’s Arbeiten fließen immer wieder wissenschaftliche Ansätze ein, die unter anderem auf sein Studium in Agrarwissenschaften und seine Habilitation in Phytopathologie (Lehre der Pflanzenkrankheiten) zurückzuführen sind. In seinen Ausstellungen ließ Höller beispielsweise das Museum Hamburger Bahnhof mit Rentieren beleben, brachte gigantische Rutschbahnen an der Tate Modern in London an und verwandelte in 2011 die drei Etagen des New Yorker New Museum in Forscherlabore zu seinen Arbeiten aus den vergangenen 18 Jahren. In der Sammlung des MMK ist Carsten Höller mit den Werken „220 Volt“ (1992) sowie „Lichtwand“ (2002) vertreten.
Daniel Birnbaum, in Stockholm geboren, studierte an der Universität Stockholm, der Freien Universität Berlin und der Columbia University New York Kunstgeschichte, Literaturwissenschaft und Philosophie. Neben Beiträgen in internationalen Kunstzeitschriften wie „Artforum“ und „Frieze“ verfasste er zahlreiche wissenschaftliche Arbeiten. Von 2000 bis 2010 war er Rektor der Städelschule Frankfurt. Neben seiner kuratorischen Mitwirkung an zahlreichen Biennalen leitete er 2009 zusammen mit dem Co-Direktor Jochen Volz die 53. Biennale von Venedig. Seit 2011 ist er Direktor des Moderna Museet in Stockholm.
Carsten Höller und Daniel Birnbaum – beide wohnhaft in Stockholm – die sich beruflich wie privat schon seit vielen Jahren kennen, treffen im Rahmen der MMK Talks erstmals in einem öffentlichen Gespräch aufeinander.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Carsten Höller & Daniel Birnbaum
Donnerstag, 31. Januar 2013, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Das Werk des in Schweden lebenden Künstlers Carsten Höller zählt mit seinen Installationen, Skulpturen, Videos, Zeichnungen und Fotografien zu den bedeutendsten Positionen der Gegenwart. In Höller’s Arbeiten fließen immer wieder wissenschaftliche Ansätze ein, die unter anderem auf sein Studium in Agrarwissenschaften und seine Habilitation in Phytopathologie (Lehre der Pflanzenkrankheiten) zurückzuführen sind. In seinen Ausstellungen ließ Höller beispielsweise das Museum Hamburger Bahnhof mit Rentieren beleben, brachte gigantische Rutschbahnen an der Tate Modern in London an und verwandelte in 2011 die drei Etagen des New Yorker New Museum in Forscherlabore zu seinen Arbeiten aus den vergangenen 18 Jahren. In der Sammlung des MMK ist Carsten Höller mit den Werken „220 Volt“ (1992) sowie „Lichtwand“ (2002) vertreten.
Daniel Birnbaum, in Stockholm geboren, studierte an der Universität Stockholm, der Freien Universität Berlin und der Columbia University New York Kunstgeschichte, Literaturwissenschaft und Philosophie. Neben Beiträgen in internationalen Kunstzeitschriften wie „Artforum“ und „Frieze“ verfasste er zahlreiche wissenschaftliche Arbeiten. Von 2000 bis 2010 war er Rektor der Städelschule Frankfurt. Neben seiner kuratorischen Mitwirkung an zahlreichen Biennalen leitete er 2009 zusammen mit dem Co-Direktor Jochen Volz die 53. Biennale von Venedig. Seit 2011 ist er Direktor des Moderna Museet in Stockholm.
Carsten Höller und Daniel Birnbaum – beide wohnhaft in Stockholm – die sich beruflich wie privat schon seit vielen Jahren kennen, treffen im Rahmen der MMK Talks erstmals in einem öffentlichen Gespräch aufeinander.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Montag, 21. Januar 2013
Juan A. Gaitán
Vortrag
Juan A. Gaitán: A System of Reports
Mittwoch, 23. Januar 2013, 19 Uhr, Aula
Juan A. Gaitán, the curator of the coming Berlin Biennale will begin his lecture-presentation by contextualizing the recent history of the Berlin Biennale, its international relevance and comprehensive impact on the cultural life of Berlin. Further, elaborating on its 8th edition to be held in Spring 2014, he will introduce the beginnings of his curatorial research as well as the artistic team he has invited. In his edition, Gaitán seeks to treat Berlin as a subjective microcosm, tracing its globality and mercantile linkages in the late 19th – early 20th centuries as well as its journey from empire to nation-state. The circulating figures within the formation of Modernity will be interrogated through the contributions of individuals such as Alexander von Humboldt and his scientific explorations across the Americas.
Gaitán (Canada/Colombia), born 1973, is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. He presently is curator of the 8th Berlin Biennale for Contemporary Art, 2014
His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
Juan A. Gaitán: A System of Reports
Mittwoch, 23. Januar 2013, 19 Uhr, Aula
Juan A. Gaitán, the curator of the coming Berlin Biennale will begin his lecture-presentation by contextualizing the recent history of the Berlin Biennale, its international relevance and comprehensive impact on the cultural life of Berlin. Further, elaborating on its 8th edition to be held in Spring 2014, he will introduce the beginnings of his curatorial research as well as the artistic team he has invited. In his edition, Gaitán seeks to treat Berlin as a subjective microcosm, tracing its globality and mercantile linkages in the late 19th – early 20th centuries as well as its journey from empire to nation-state. The circulating figures within the formation of Modernity will be interrogated through the contributions of individuals such as Alexander von Humboldt and his scientific explorations across the Americas.
Gaitán (Canada/Colombia), born 1973, is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. He presently is curator of the 8th Berlin Biennale for Contemporary Art, 2014
His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
Dorothea von Hantelmann
Vortrag
Dorothea von Hantelmann: Economies of Attention: Regimes of Time in Exhibitions
Dienstag, 22. Januar 2013, 19 Uhr, Aula
In the early days of public museums, opening hours were a highly debated issue. This was not just because questions such as whether or not museums should be open on Sundays pointed to the extent to which the museum realized its ideal of unlimited public accessibility. This debate also occured because the invention of a cultural ritual based on an open temporal frame with no fixed beginning or end marked the museum as a liberal ritual; a ritual that, unlike the fixed time format of theatre, allowed individualized and flexibilised forms of usage. Although the museum can host thousands of people a day, it – contrary to theatre or film – still constitutes a flexible ritual par excellence. In that sense, it is a distinctively modern ritual that corresponds to a modern, individualized sensitivity.
The lecture will reflect on the aesthetic and cultural significance of these phenomena in light of the history and current social function of art museums. By relating them to sociological approaches such as the theory of weak ties, it will throw a particular light on the respective economies of attention that are at stake in exhibitions today
Dorothea von Hantelmann, born 1969 in Hamburg, lives in Berlin. She teaches Art History at the Freie Universität Berlin and works at the Collaborative Research Centre on “Aesthetic Experience and the Dissolution of Artistic Limits.” Among her recent publications are How to Do Things with Art: The Meaning of Art’s Performativity (2010) and Die Ausstellung. Politik eines Rituals (ed. with C. Meister, 2010).
A lecture in the frame of Curatorial and Critical Studies
Dorothea von Hantelmann: Economies of Attention: Regimes of Time in Exhibitions
Dienstag, 22. Januar 2013, 19 Uhr, Aula
In the early days of public museums, opening hours were a highly debated issue. This was not just because questions such as whether or not museums should be open on Sundays pointed to the extent to which the museum realized its ideal of unlimited public accessibility. This debate also occured because the invention of a cultural ritual based on an open temporal frame with no fixed beginning or end marked the museum as a liberal ritual; a ritual that, unlike the fixed time format of theatre, allowed individualized and flexibilised forms of usage. Although the museum can host thousands of people a day, it – contrary to theatre or film – still constitutes a flexible ritual par excellence. In that sense, it is a distinctively modern ritual that corresponds to a modern, individualized sensitivity.
The lecture will reflect on the aesthetic and cultural significance of these phenomena in light of the history and current social function of art museums. By relating them to sociological approaches such as the theory of weak ties, it will throw a particular light on the respective economies of attention that are at stake in exhibitions today
Dorothea von Hantelmann, born 1969 in Hamburg, lives in Berlin. She teaches Art History at the Freie Universität Berlin and works at the Collaborative Research Centre on “Aesthetic Experience and the Dissolution of Artistic Limits.” Among her recent publications are How to Do Things with Art: The Meaning of Art’s Performativity (2010) and Die Ausstellung. Politik eines Rituals (ed. with C. Meister, 2010).
A lecture in the frame of Curatorial and Critical Studies
Mittwoch, 9. Januar 2013
Amy Sillman
Vortrag
Amy Sillman
Dienstag, 15. Januar 2013, 19 Uhr, Aula
Amy Sillman *1956 is an American painter living and working in New York. Sillman foregrounds the materiality of painting and its formal, psychological, and conceptual dimensions. She constructs her work in a physical way — through gesture, color, and drawing-based procedures — imbuing it with questions of feminism, performativity, and humor. Her work is an ongoing negotiation between the improvisatory and the structural aspects of thinking itself, with painting posited as a language in which to express thinking in a formal and affective method.
Sillman‘s bibliography includes Amy Sillman: Works on Paper (Gregory R. Miller, 2006), a monograph of her drawings with text by Wayne Koestenbaum, and Between Artists: Gregg Bordowitz and Amy Sillman (ART Press, NY, 2009). Sillman earned her BFA from the School of Visual Arts in New York and her MFA from Bard College in 1995. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship at the American Academy in Berlin in 2009. Her work has been widely exhibited and collected in public and private collections, including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. A survey of her work will be exhibited in 2013 at the Institute of Contemporary Art in Boston.
Die Veranstaltung findet in englischer Sprache statt.
Amy Sillman
Dienstag, 15. Januar 2013, 19 Uhr, Aula
Amy Sillman *1956 is an American painter living and working in New York. Sillman foregrounds the materiality of painting and its formal, psychological, and conceptual dimensions. She constructs her work in a physical way — through gesture, color, and drawing-based procedures — imbuing it with questions of feminism, performativity, and humor. Her work is an ongoing negotiation between the improvisatory and the structural aspects of thinking itself, with painting posited as a language in which to express thinking in a formal and affective method.
Sillman‘s bibliography includes Amy Sillman: Works on Paper (Gregory R. Miller, 2006), a monograph of her drawings with text by Wayne Koestenbaum, and Between Artists: Gregg Bordowitz and Amy Sillman (ART Press, NY, 2009). Sillman earned her BFA from the School of Visual Arts in New York and her MFA from Bard College in 1995. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship at the American Academy in Berlin in 2009. Her work has been widely exhibited and collected in public and private collections, including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. A survey of her work will be exhibited in 2013 at the Institute of Contemporary Art in Boston.
Die Veranstaltung findet in englischer Sprache statt.
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