Vortrag Architecture Class
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 28. Mai 2015
Philipp Demandt: Nur keine violetten Schweine!
Vortrag Curatorial Studies
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Montag, 25. Mai 2015
Louis Becker: People, Space, Daylight
Vortrag Architecture Class
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon
Vortrag Curatorial Studies
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 21. Mai 2015
Philipp Demandt: Nur keine violetten Schweine!
Vortrag
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Mittwoch, 20. Mai 2015
Bisi Silva: Curating The Local
Vortrag
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Montag, 18. Mai 2015
Bouchra Khalili: Foreign Office
Vortrag
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Montag, 11. Mai 2015
Cara Benedetto: buy to possess, love to own
Vortrag
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Vortrag
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
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