Vortrag
Josef Strau
Mittwoch, 3. Dezember 2014, 19 Uhr, Aula
The lecture can be understood as the second part of a lecture Josef Strau did in Städelschule already in 2011. It could be seen like a lecture but more as an exercise in extemporaneous talk, thus reintroducing a model of working, that appears a dominant figure in many of his productions, like in writing, exhibiting or jewelry making, albeit always following predetermined or ready made story lines, that interweave issues of art production, history, social hierarchy, theology or of traveling. In a similar way in his exhibition and publication The New World Josef Strau recently used fragments of historic first encounter reports of Europeans with Native Americans to retell in an improvised mode of production his own story of gratitude through moments of contemporary encounters within the United States and Mexico, trying to create through these both complex or sometimes simplified narratives a seamless whole of a partly fictional fantasy of redemption in contemporary culture.
Josef Strau worked in the last years in different roles, mostly as artist and as writer, but as well as jeweler, curator and art space organizer. Recent solo exhibitions include The New World, The Application, Renaissance Society, Chicago 2014 and House of Gaga, Mexico City 2013 and Greene Naftali Gallery, New York, 2012. In 2002, Strau founded Galerie Meerrettich, an independent Berlin gallery that closed in 2006. Strau is also a writer, not only in most of his own art production but also contributing to independently produced art publications, catalogue essays and art magazines.
Der Vortrag findet in englischer Sprache statt.
REN_STRAU_Poster_web.pdf
Donnerstag, 27. November 2014
Mittwoch, 26. November 2014
Elif Erkan & Fabian Schöneich
Gespräch
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Montag, 17. November 2014
David Ruy
Vortrag
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 13. November 2014
Zasha Colah
Vortrag Masterstudiengang Kuratieren und Kritik
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Montag, 10. November 2014
Gabriel Lester
Vortrag
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Abonnieren
Posts (Atom)