Vortrag
Tobias Kaspar: Dress Code Black
Donnerstag, 15. Dezember 2016, 19 Uhr, Aula
Tobias Kaspar (1984) lives in Riga, Latvia. In 2012 he founded his eponymous jeans line, he is co-founder of PROVENCE, an eight-issue magazine. In 2015, Tobias Kaspar opened Toby’s Tristram Shandy Shop in Berlin (at Udolpho). His artworks are often conceived as larger bodies of works and bare titles such as Lumpy Blue Sweater (2010), Bodies in the Backdrop (2012), The Bling Ring (2013), Friends, Lovers & Financiers (2014), Two Cities - Two Lives (2015) and The Street (2016)
His work has been shown in institutions and museums, including the Museum of Modern Art in Warsaw (2016), Wattis Institute for Contemporary Art, San Francisco (2015), Solo Shows, São Paulo (2015), CAFAM Biennale, Beijing (2014), Kunsthalle Wien (2014), Kunsthalle St. Gallen (2014), Midway Contemporary Art, Minneapolis (2013), Artists Space, New York (2013), Palais de Tokyo, Paris (2012), Kunsthalle Zürich (2011), Kunsthalle Basel (2011), Museum Hamburger Bahnhof, Berlin (2011), Kunsthaus Bregenz (2011), Künstlerhaus Stuttgart (2010).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 1. Dezember 2016
Mittwoch, 30. November 2016
After facts – Pudding Explosion rearticulated
Ausstellungseröffnung Curatorial Studies
After facts — Pudding Explosion rearticulated
Thomas Baldischwyler, Thomas Bayrle, Max Eulitz, Zac Langdon-Pole, Anna McCarthy, Luzie Meyer, Jennifer Lyn Morone Inc., Peter Roehr, Alex Turgeon, Jasmin Werner
Donnerstag, 8 Dezember 2016, 19 Uhr, Mendelssohnstraße 56, 60325 Frankfurt am Main
Where is the line between opinion and fact? When does an object become information? And when in this process does it transform into a fetish? What is the validity of these divisions in the light of social media and algorithmically generated purchase recommendations? Using the dispositions of an exhibition, “After facts” would like to pursue and complexify these questions and at the same time show alternative forms of knowledge production and commodity culture.
The impetus of the exhibition is the headshop “Pudding Explosion”, which was initiated in 1968 by the conceptual artist Peter Roehr (1944–68) together with his future gallerist Paul Maenz in the heart of Frankfurt. The assortment of goods ranged from pop culture ephemera, such as music and band buttons, to international newspapers and Maoist manifestos, providing youth and counterculture with identity affirming/producing objects, information and opinions. Against a backdrop of virtual distribution mechanisms and information excess, where accessibility is privileged over navigation, “After facts” attempts to update the function of subcultural activity that Pudding Explosion embodied in the early months of 1968.
A project initiated by the Master program Curatorial Studies, the exhibition materializes as a display of ten positions of international artists in a former pharmacy in Frankfurt Westend. Their work, among them five new productions, approach the mechanisms of information and merchandise exchange in the digital and post-factual age from different angles.
Der Studiengang Curatorial Studies wird unterstützt durch die DZ Bank Stiftung, die Adolf Messer Stiftung und die Alfons und Gertrud Kassel-Stiftung.
„After facts — Pudding Explosion rearticulated“ wird ermöglicht durch die Dr. Marschner Stiftung und die Aventis Foundation. Mit freundlicher Unterstützung des MMK Museum für Moderne Kunst Frankfurt am Main.
9.12.2016 - 18.12.2016
Montag - Sonntag, 14 - 19 Uhr
Eintritt frei
Dienstag, 22. November 2016
Willem de Rooij & Philippe Pirotte
On the occasion of the current exhibition 'Willem de Rooij. Entitled', the rector of the Städelschule and director of Portikus Philippe Pirotte and Willem de Rooij will talk about the artist's work and exhibition at MMK 2. Additionally, the accompanying catalogue – containing three volumes – will be presented.
Willem de Rooij, *1969 in Beverwijk, Netherlands is one of the most influential artists of his generation. He studied at Gerrit Rietveld Academie and the Rijksakademie in Amsterdam. Since 2006 the artist has been professor of fine arts at the Städelschule.
Philippe Pirotte, *1972 in Antwerp, Belgium is an art historian and curator. He is the rector of Städelschule and director of the Portikus in Frankfurt am Main. He is a freelance Senior Curator at UC Berkeley Art Museum and Pacific Film Archive. Pirotte was the curator of the 2016 La Biennale de Montréal: Le Grand Balcon.
Eintritt frei.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 17. November 2016
Rachel Haidu: A Melancholic Autocracy: On the Paradoxes of Skill in Marcel Broodthaers' Museum Fictions
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
Rachel Haidu: A Melancholic Autocracy: On the Paradoxes of Skill in Marcel Broodthaers' Museum Fictions
Mittwoch, 14. Dezember 2016, 19 Uhr, Aula
Marcel Broodthaers is perhaps best known for having declared a museum, along the same lines through which Marcel Duchamp declared his readymades art. But whereas Duchamp’s paradigm seems to have limited its radical implications to the realm of art, Broodthaers’s museum created a self-consuming bureaucracy that in turn re-framed the relation between politics, activism, and melancholic authorship. It is within that highly topical framework that Rachel Haidu will address the questions of “reskilling” as a performative practice.
Rachel Haidu is Associate Professor in the Department of Art and Art History and Director of the Graduate Program in Visual and Cultural Studies at the University of Rochester. She is the author of The Absence of Work: Marcel Broodthaers 1964-1976 (MIT Press/October Books, 2010) and numerous essays, most recently on the works of Ulrike Müller, Andrzej Wróblewski, Yvonne Rainer, Sharon Hayes, James Coleman, Gerhard Richter, and Sol LeWitt. Her current book manuscript, tentatively entitled The Shame of the Self, examines notions of selfhood that develop in contemporary artist’s films and video, dance, and painting.
Der Vortrag findet in englischer Sprache statt.
Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Ringvorlesung Institut für Kunstkritik
Rachel Haidu: A Melancholic Autocracy: On the Paradoxes of Skill in Marcel Broodthaers' Museum Fictions
Mittwoch, 14. Dezember 2016, 19 Uhr, Aula
Marcel Broodthaers is perhaps best known for having declared a museum, along the same lines through which Marcel Duchamp declared his readymades art. But whereas Duchamp’s paradigm seems to have limited its radical implications to the realm of art, Broodthaers’s museum created a self-consuming bureaucracy that in turn re-framed the relation between politics, activism, and melancholic authorship. It is within that highly topical framework that Rachel Haidu will address the questions of “reskilling” as a performative practice.
Rachel Haidu is Associate Professor in the Department of Art and Art History and Director of the Graduate Program in Visual and Cultural Studies at the University of Rochester. She is the author of The Absence of Work: Marcel Broodthaers 1964-1976 (MIT Press/October Books, 2010) and numerous essays, most recently on the works of Ulrike Müller, Andrzej Wróblewski, Yvonne Rainer, Sharon Hayes, James Coleman, Gerhard Richter, and Sol LeWitt. Her current book manuscript, tentatively entitled The Shame of the Self, examines notions of selfhood that develop in contemporary artist’s films and video, dance, and painting.
Der Vortrag findet in englischer Sprache statt.
Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Mittwoch, 16. November 2016
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 13. Dezember 2016, 19 Uhr, Aula
How do artists confront the acceleration, immaterialization and constant connectedness of our global network society? How do new technologies affect models of subjectivity and of artistic skills?
The paper, that Julia Gelshorn will present, discusses two case studies related to the artists Renée Green and Tacita Dean who make use of digression, deceleration, location, and materialization in order to create the experience of space and duration. What is the relation between stories and history, what role does the location play in contrast to the idea of global flow? In the work of Green and Dean, the biographic narration of networked selves becomes an exemplary microcosm as part of a large continuum of contingencies and analogies. The network as the paradigm of our contemporary world is thereby aesthetically and ideologically revaluated and filled with “life”.
Julia Gelshorn (1974, Aachen) studied art history, theater, film and media, as well as Italian language and literature in Cologne and in Bern. In 2003 she recieved her PHD with a dissertation on "Appropiating Art History. Strategies of Repetition in the work of Gerhard Richter and Sigmar Polke". After teaching and research stints at universities in Zurich, Paris, Karlsruhe, Vienna and Hamburg, she has since 2013 been professor of art history at the University of Fribourg (CH).
Der Vortrag findet in englischer Sprache statt.
Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Ringvorlesung Institut für Kunstkritik
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 13. Dezember 2016, 19 Uhr, Aula
How do artists confront the acceleration, immaterialization and constant connectedness of our global network society? How do new technologies affect models of subjectivity and of artistic skills?
The paper, that Julia Gelshorn will present, discusses two case studies related to the artists Renée Green and Tacita Dean who make use of digression, deceleration, location, and materialization in order to create the experience of space and duration. What is the relation between stories and history, what role does the location play in contrast to the idea of global flow? In the work of Green and Dean, the biographic narration of networked selves becomes an exemplary microcosm as part of a large continuum of contingencies and analogies. The network as the paradigm of our contemporary world is thereby aesthetically and ideologically revaluated and filled with “life”.
Julia Gelshorn (1974, Aachen) studied art history, theater, film and media, as well as Italian language and literature in Cologne and in Bern. In 2003 she recieved her PHD with a dissertation on "Appropiating Art History. Strategies of Repetition in the work of Gerhard Richter and Sigmar Polke". After teaching and research stints at universities in Zurich, Paris, Karlsruhe, Vienna and Hamburg, she has since 2013 been professor of art history at the University of Fribourg (CH).
Der Vortrag findet in englischer Sprache statt.
Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Donnerstag, 10. November 2016
Keren Cytter: Recent works and more
Vortrag
Keren Cytter: Recent works and more
Dienstag, 6. Dezember 2016, 19 Uhr, Aula
The lecture will include screening of three videos and focus on the artist’s use of exhibition space and ideas regarding production and distribution of her work, which include videos, drawings and text.
Keren Cytter *1977 in Tel Aviv, Israel is currently based in between New York and Berlin. Cytter creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterised by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production.
Der Vortrag findet in englischer Sprache statt.
Keren Cytter: Recent works and more
Dienstag, 6. Dezember 2016, 19 Uhr, Aula
The lecture will include screening of three videos and focus on the artist’s use of exhibition space and ideas regarding production and distribution of her work, which include videos, drawings and text.
Keren Cytter *1977 in Tel Aviv, Israel is currently based in between New York and Berlin. Cytter creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterised by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production.
Der Vortrag findet in englischer Sprache statt.
Jochen Volz: INCERTEZA VIVA (Live Uncertainty) - on the 32nd Bienal de São Paulo
Vortrag Curatorial Studies
Jochen Volz: INCERTEZA VIVA (Live Uncertainty) - on the 32nd Bienal de São Paulo
Dienstag, 22. November 2016, 19 Uhr, Aula
Jochen Volz will present the project for the 32nd Bienal de São Paulo, entitled INCERTEZA VIVA (Live Uncertainty), seeking to reflect on the possibilities offered by contemporary art to harbour and inhabit uncertainties. He will talk about the development of the exhibition in relation to issues that surround and guide contemporary artistic production. Cosmological thoughts, environmental and collective intelligence, natural and systemic ecologies are some of the starting points.
Volz is the curator of the 32nd Bienal de São Paulo. He served as Head of Programmes at the Serpentine Galleries in London; Artistic Director at Instituto Inhotim; and curator at Portikus in Frankfurt. He was co-curator of the international exhibition of the 53rd Biennale di Venezia (2009), the 1st Aichi Triennial in Nagoya (2010) and guest curator of the 27th Bienal de São Paulo (2006). Jochen Volz lives in São Paulo.
Der Vortrag findet in englischer Sprache statt.
Jochen Volz: INCERTEZA VIVA (Live Uncertainty) - on the 32nd Bienal de São Paulo
Dienstag, 22. November 2016, 19 Uhr, Aula
Jochen Volz will present the project for the 32nd Bienal de São Paulo, entitled INCERTEZA VIVA (Live Uncertainty), seeking to reflect on the possibilities offered by contemporary art to harbour and inhabit uncertainties. He will talk about the development of the exhibition in relation to issues that surround and guide contemporary artistic production. Cosmological thoughts, environmental and collective intelligence, natural and systemic ecologies are some of the starting points.
Volz is the curator of the 32nd Bienal de São Paulo. He served as Head of Programmes at the Serpentine Galleries in London; Artistic Director at Instituto Inhotim; and curator at Portikus in Frankfurt. He was co-curator of the international exhibition of the 53rd Biennale di Venezia (2009), the 1st Aichi Triennial in Nagoya (2010) and guest curator of the 27th Bienal de São Paulo (2006). Jochen Volz lives in São Paulo.
Der Vortrag findet in englischer Sprache statt.
Montag, 31. Oktober 2016
Jonathan Berger: Archive as Biography: Artists Experiments in Exhibiting Material Culture
Vortrag Curatorial Studies
Jonathan Berger: Archive as Biography: Artists Experiments in Exhibiting Material Culture
Mittwoch, 16. November 2016, 19 Uhr, Aula
Artist Jonathan Berger's work centers on the practice of exhibition making, encompassing a spectrum of activity including sculpture, installation, performance, archival work, design, education, and the production of large-scale collaborative projects. The content of his exhibitions range from work that he physically produces or asks others to produce for him, to materials that he collects, seeks out, and re-contextualizes, or that are the product of conversations and exchanges with others. Berger's relationship to these exhibitions exists in a gray area that both incorporates and rejects the standard conventions attached to the role of artist, curator, producer, archivist, and historian. In his presentation he will focus on the ways in which the exhibition site can be repurposed, specifically highlighting work with artist archives and collaborative projects involving the popular and the obscure, the static display and the event, that which is widely acknowledged as art and that which is not.
Jonathan Berger recently completed a three-year term as director at 80 WSE Gallery, New York. Recent projects include: Ellen Cantor: Are You Ready For Love?; The Magic Flute, in collaboration with Vaginal Davis, Susanne Sachsse, Xiu Xiu, Jesse Bransford, Jackie Shemesh, and Michel Auder; James Son Ford Thomas: The Devil and His Blues, in collaboration with Jessica Garcia and Marybeth Brown; New Sights, New Noise, in collaboration with Michael Stipe; Devotion: Excavating Bob Mizer, in collaboration with Billy Miller; and Learn to Read Art: A Surviving History of Printed Matter, in collaboration with Max Schumann, all of which were presented at 80 WSE Gallery. In 2013, he presented On Creating Reality, by Andy Kaufman at Maccarone, New York, in addition to organizing Andy Kaufman's 99cent Tour, the first comprehensive screening series surveying Kaufman's performance work, presented at Participant Inc., New York. In 2009, Berger organized the exhibition Stuart Sherman: Nothing Up My Sleeve at Participant, Inc., which was included in the 2009 PERFORMA Biennial. Berger has presented solo installation projects at the Busan Biennial, South Korea; Frieze Projects, London; Vox Populi, Philadelphia; Adams and Ollman Gallery, Portland, Oregon, Andreas Grimm Gallery and Karma Gallery, New York. Recipient of a Pollock-Krasner Foundation and Haven Foundation Grant, Berger received his BFA from California Institute of the Arts in 2002 and his MFA from New York University in 2006, where he is presently a Clinical Assistant Professor in the Department of Art and Art Professions.
Eine Kooperation des Masterstudiengangs Curatorial Studies und dem Institut für Theater-, Film- und Medienwissenschaft, Goethe Universität Frankfurt.
Der Vortrag findet in englischer Sprache statt.
Jonathan Berger: Archive as Biography: Artists Experiments in Exhibiting Material Culture
Mittwoch, 16. November 2016, 19 Uhr, Aula
Artist Jonathan Berger's work centers on the practice of exhibition making, encompassing a spectrum of activity including sculpture, installation, performance, archival work, design, education, and the production of large-scale collaborative projects. The content of his exhibitions range from work that he physically produces or asks others to produce for him, to materials that he collects, seeks out, and re-contextualizes, or that are the product of conversations and exchanges with others. Berger's relationship to these exhibitions exists in a gray area that both incorporates and rejects the standard conventions attached to the role of artist, curator, producer, archivist, and historian. In his presentation he will focus on the ways in which the exhibition site can be repurposed, specifically highlighting work with artist archives and collaborative projects involving the popular and the obscure, the static display and the event, that which is widely acknowledged as art and that which is not.
Jonathan Berger recently completed a three-year term as director at 80 WSE Gallery, New York. Recent projects include: Ellen Cantor: Are You Ready For Love?; The Magic Flute, in collaboration with Vaginal Davis, Susanne Sachsse, Xiu Xiu, Jesse Bransford, Jackie Shemesh, and Michel Auder; James Son Ford Thomas: The Devil and His Blues, in collaboration with Jessica Garcia and Marybeth Brown; New Sights, New Noise, in collaboration with Michael Stipe; Devotion: Excavating Bob Mizer, in collaboration with Billy Miller; and Learn to Read Art: A Surviving History of Printed Matter, in collaboration with Max Schumann, all of which were presented at 80 WSE Gallery. In 2013, he presented On Creating Reality, by Andy Kaufman at Maccarone, New York, in addition to organizing Andy Kaufman's 99cent Tour, the first comprehensive screening series surveying Kaufman's performance work, presented at Participant Inc., New York. In 2009, Berger organized the exhibition Stuart Sherman: Nothing Up My Sleeve at Participant, Inc., which was included in the 2009 PERFORMA Biennial. Berger has presented solo installation projects at the Busan Biennial, South Korea; Frieze Projects, London; Vox Populi, Philadelphia; Adams and Ollman Gallery, Portland, Oregon, Andreas Grimm Gallery and Karma Gallery, New York. Recipient of a Pollock-Krasner Foundation and Haven Foundation Grant, Berger received his BFA from California Institute of the Arts in 2002 and his MFA from New York University in 2006, where he is presently a Clinical Assistant Professor in the Department of Art and Art Professions.
Eine Kooperation des Masterstudiengangs Curatorial Studies und dem Institut für Theater-, Film- und Medienwissenschaft, Goethe Universität Frankfurt.
Der Vortrag findet in englischer Sprache statt.
Jos de Gruyter & Harald Thys
Konzert
Jos de Gruyter & Harald Thys: The Frigate
Donnerstag, 3. November 2016, 17 Uhr, Portikus
Composer: Erik Thys
Performed by: Benjamin Saurer
Vortrag
Jos de Gruyter & Harald Thys: Ein äußerst wichtiges Gespräch
Donnerstag, 3. November 2016, 19 Uhr, Aula
Accompanying their exhibition „White Suprematism“ at Portikus (until until 20. November 2016) the artists are in conversation with Fabian Schöneich to talk about their work, their past, and their inspiration, while also showing some videos.
In more than 25 years of collaboration, Jos de Gruyter & Harald Thys have created a diverse body of work. For their exhibition at Portikus they show both small- and large-scale white-coated steel sculptures.
Once again, it is the terrifying and the banal nature of the everyday that the artists take as their subject. De Gruyter & Thys take up this development that (unconsciously) affects us all and, in this way, their works become a darker and more intense representation of everyday life. Their artistic approach is characterised by the tragicomic and the uncanny, as well as claustrophobic moments and situations, which assume a central role in their video works and performances, often resurface in their sculptures and drawings, and which are also recognizable in their site-specific installations.
Jos de Gruyter (b. 1965) and Harald Thys (b. 1966) live and work in Brussels. White Suprematism was initially presented at Contemporary Art Centre (CAC) in Vilnius, April 15–May 29, 2016. The exhibition at Portikus functions as a continuation, including new works. Recent solo exhibitions include CCA Wattis Institute for Contemporary Arts in San Francisco (2015), MoMA PS1 in New York (2015), Raven Row in London (2015), Kunsthalle Wien in Vienna (2014), and M HKA in Antwerp (2013).
Der Vortrag findet in englischer Sprache statt.
Jos de Gruyter & Harald Thys: The Frigate
Donnerstag, 3. November 2016, 17 Uhr, Portikus
Composer: Erik Thys
Performed by: Benjamin Saurer
Vortrag
Jos de Gruyter & Harald Thys: Ein äußerst wichtiges Gespräch
Donnerstag, 3. November 2016, 19 Uhr, Aula
Accompanying their exhibition „White Suprematism“ at Portikus (until until 20. November 2016) the artists are in conversation with Fabian Schöneich to talk about their work, their past, and their inspiration, while also showing some videos.
In more than 25 years of collaboration, Jos de Gruyter & Harald Thys have created a diverse body of work. For their exhibition at Portikus they show both small- and large-scale white-coated steel sculptures.
Once again, it is the terrifying and the banal nature of the everyday that the artists take as their subject. De Gruyter & Thys take up this development that (unconsciously) affects us all and, in this way, their works become a darker and more intense representation of everyday life. Their artistic approach is characterised by the tragicomic and the uncanny, as well as claustrophobic moments and situations, which assume a central role in their video works and performances, often resurface in their sculptures and drawings, and which are also recognizable in their site-specific installations.
Jos de Gruyter (b. 1965) and Harald Thys (b. 1966) live and work in Brussels. White Suprematism was initially presented at Contemporary Art Centre (CAC) in Vilnius, April 15–May 29, 2016. The exhibition at Portikus functions as a continuation, including new works. Recent solo exhibitions include CCA Wattis Institute for Contemporary Arts in San Francisco (2015), MoMA PS1 in New York (2015), Raven Row in London (2015), Kunsthalle Wien in Vienna (2014), and M HKA in Antwerp (2013).
Der Vortrag findet in englischer Sprache statt.
Elysia Crampton: Silver Mouth of The One Called Ukurunku
Vortrag
Elysia Crampton: Silver Mouth of The One Called Ukurunku
Dienstag, 8. November 2016, 19 Uhr, Aula
Elysia Crampton is a Bolivian-American producer, sound artist and conceptual collagist who performs and speaks around the world. Elysia’s music is an ambitious confluence of ideas, synthesising multiple underrepresented histories, geographies, musical genres and cultural signifiers into addictively colourful sonic material that packs contemporaneous dancefloor weight.
Following last year’s American Drift EP on Blueberry Records, her newest work, Elysia Crampton presents: Demon City arrives on Break World this summer: a concept album that works as an epic poem with guest appearances from Chino Amobi, Why Be, Rabit and Lexxi, Demon City will be accompanied by a live performance entitled Dissolution of The Sovereign: A Time Slide Into The Future, an audio-visual play that unfolds as a DJ production and live performance, bridging Aymara oral history tradition/theater legacy with Elysia’s own trans-femme abolitionist grasp of futurity.
Der Vortrag findet in englischer Sprache statt.
Elysia Crampton: Silver Mouth of The One Called Ukurunku
Dienstag, 8. November 2016, 19 Uhr, Aula
Elysia Crampton is a Bolivian-American producer, sound artist and conceptual collagist who performs and speaks around the world. Elysia’s music is an ambitious confluence of ideas, synthesising multiple underrepresented histories, geographies, musical genres and cultural signifiers into addictively colourful sonic material that packs contemporaneous dancefloor weight.
Following last year’s American Drift EP on Blueberry Records, her newest work, Elysia Crampton presents: Demon City arrives on Break World this summer: a concept album that works as an epic poem with guest appearances from Chino Amobi, Why Be, Rabit and Lexxi, Demon City will be accompanied by a live performance entitled Dissolution of The Sovereign: A Time Slide Into The Future, an audio-visual play that unfolds as a DJ production and live performance, bridging Aymara oral history tradition/theater legacy with Elysia’s own trans-femme abolitionist grasp of futurity.
Der Vortrag findet in englischer Sprache statt.
Freitag, 28. Oktober 2016
Symposium: The Value of Critique
Symposium: The Value of Critique
19. und 20. Januar 2017
Konzept: Isabelle Graw / Christoph Menke
Veranstaltet vom Exzellenzcluster „Die Herausbildung normativer Ordnungen“ an der Goethe-Universität und dem Institut für Kunstkritik der Staatlichen Hochschule für Bildende Künste – Städelschule Frankfurt am Main.
Das Symposium findet in englischer Sprache statt.
Donnerstag, 19. Januar 2017, Lichthalle Städelschule
14 - 16 Uhr
Against Critique
Lecture: Bruno Latour
Respondents: Rainer Forst, Petra Gehring
Moderation: Dirk Setton
16:30 - 18 Uhr
Roundtable: Labour and Value
Participants: Sabeth Buchmann, Isabelle Graw, Christoph Menke, John Roberts
Moderation: Felix Trautmann
18:30 - 20:30 Uhr
The Power of Critique
Lecture: Beate Söntgen
Respondents: Martin Seel, Kerstin Stakemeier
Moderation: Philippe Pirotte
Freitag, 20. Januar 2017, Lichthalle Städelschule
11 - 13 Uhr
Criticize your Life
Lecture: Rahel Jaeggi
Respondents: Eva Geulen, Thomas Lemke
Moderation: Judith Mohrmann
14 - 16 Uhr
Social Critique
Lecture: Luc Boltanski
Respondents: Juliane Rebentisch, Klaus Günther
Moderation: Marina Martinez Mateo
The title „The Value of Critique“ refers to two different modes of practicing judgment: critique and value (or evaluation). Lately, many theorists have said Farewell to Critique, advocating alternative attitudes of judgment that could be labeled as practices of value or valuing – which are (or were) precisely those attitudes against which the tradition of “critique” has established itself. The aim of the conference is to explore the relation between these two modes of thinking and practicing judgment. Especially, we want to ask if, and how, it is possible to overcome their traditional opposition.
Here is a (highly) schematic way of describing this antagonism. According to it, critique is the paradigmatic enlightenment strategy of judgment whereby a subject establishes itself and thus its freedom precisely by grounding (or claiming or pretending to do so) itself in the object of its judgment. To criticize in this sense means: to gain freedom over and against an object, a situation, a condition, in short: the world, by turning it against itself; by claiming that it is contradictory in itself and thus by mobilizing it against itself. The concept of value, on the other hand, refers to an act of evaluation which is openly and avowedly partial and perspectival – the act of measuring, in which a living being expresses the utility of something in the world for it, i.e. its flourishing. Evaluation is about the enhancement of the evaluating living being, about increasing its life-forces, its ability to live (or survive).
The antagonism between critique and value (or evaluation) should thus be obvious. From the perspective of value, critique is the strategy by which the enlightenment subject seeks to empower itself, merely pretending to let “die Sache selbst” (Hegel) speak. From the perspective of critique, on the other hand, the model of value or evaluation has surrendered already from the start to the endless circle of the immanence of life, be it biological or economical. Evaluation stands in the service of self-preservation or -enhancement.
Is this mutual denunciation the last word about critique and value? Do we have to decide between the two, and can we? If one traces Criticism back to its etymological origin (Kritiké) and understands it as a way of separating and differentiating, its evaluative dimension becomes quite obvious. As soon as the critic selects an object as worthwhile her interest and time, she has indeed contributed to it being potentially considered valuable. Criticism is therefore implicated in the formation of value, but it also traditionally aims at questioning existing values. Theories of value are usually marked by a similar critical impetus, and one could go so far as to say that Critique is their modus operandi. As much as Critique takes part in the formation of Value, Value seems to trigger Critique.
Furthermore, both concepts share a metonymic structure: Criticism refers to an object that is outside of it as much as the critic might be deeply affected by it. A similar displacement occurs in Value since there is no „intrinsic value“ as Marx underlined. Value is relational and therefore always to be found elsewhere. But despite its metonymic nature Value needs to get materialized – it has a form, and this renders it similar to the objects of Criticism.
But despite Criticism’s strength as a relational concept it is currently said to have lost its transformative power in a New Economy that is busy absorbing it. We would like to propose a less pessimistic and less totalizing account by distinguishing between different types of Critique and their respective situative potential (such as Luc Boltanski’s model of „Social Critique“, Bruno Latour’s “Critique of Critique”, Rahel Jaeggi’s „Internal Critique“ , Beate Söntgen’s „Kulturen der Kritik“). Each of these models demonstrates how Critique is able to develop its own criteria that are different from the values that it produces. This Conference presupposes, in other words, that it still matters how Criticism argues even if it is complicit with the current power technologies. Instead of endlessly deploring its complicity, we would like to examine how its evaluations differ from the act of evaluation implied in the concept of value.
Veranstaltungsort:
Städelschule
Dürerstraße 10
60596 Frankfurt am Main
Das Symposium ist öffentlich und kostenlos, Reservierungen sind nicht möglich.
Die Mensa ist durchgehend geöffnet.
19. und 20. Januar 2017
Konzept: Isabelle Graw / Christoph Menke
Veranstaltet vom Exzellenzcluster „Die Herausbildung normativer Ordnungen“ an der Goethe-Universität und dem Institut für Kunstkritik der Staatlichen Hochschule für Bildende Künste – Städelschule Frankfurt am Main.
Das Symposium findet in englischer Sprache statt.
Donnerstag, 19. Januar 2017, Lichthalle Städelschule
14 - 16 Uhr
Against Critique
Lecture: Bruno Latour
Respondents: Rainer Forst, Petra Gehring
Moderation: Dirk Setton
16:30 - 18 Uhr
Roundtable: Labour and Value
Participants: Sabeth Buchmann, Isabelle Graw, Christoph Menke, John Roberts
Moderation: Felix Trautmann
18:30 - 20:30 Uhr
The Power of Critique
Lecture: Beate Söntgen
Respondents: Martin Seel, Kerstin Stakemeier
Moderation: Philippe Pirotte
Freitag, 20. Januar 2017, Lichthalle Städelschule
11 - 13 Uhr
Criticize your Life
Lecture: Rahel Jaeggi
Respondents: Eva Geulen, Thomas Lemke
Moderation: Judith Mohrmann
14 - 16 Uhr
Social Critique
Lecture: Luc Boltanski
Respondents: Juliane Rebentisch, Klaus Günther
Moderation: Marina Martinez Mateo
The title „The Value of Critique“ refers to two different modes of practicing judgment: critique and value (or evaluation). Lately, many theorists have said Farewell to Critique, advocating alternative attitudes of judgment that could be labeled as practices of value or valuing – which are (or were) precisely those attitudes against which the tradition of “critique” has established itself. The aim of the conference is to explore the relation between these two modes of thinking and practicing judgment. Especially, we want to ask if, and how, it is possible to overcome their traditional opposition.
Here is a (highly) schematic way of describing this antagonism. According to it, critique is the paradigmatic enlightenment strategy of judgment whereby a subject establishes itself and thus its freedom precisely by grounding (or claiming or pretending to do so) itself in the object of its judgment. To criticize in this sense means: to gain freedom over and against an object, a situation, a condition, in short: the world, by turning it against itself; by claiming that it is contradictory in itself and thus by mobilizing it against itself. The concept of value, on the other hand, refers to an act of evaluation which is openly and avowedly partial and perspectival – the act of measuring, in which a living being expresses the utility of something in the world for it, i.e. its flourishing. Evaluation is about the enhancement of the evaluating living being, about increasing its life-forces, its ability to live (or survive).
The antagonism between critique and value (or evaluation) should thus be obvious. From the perspective of value, critique is the strategy by which the enlightenment subject seeks to empower itself, merely pretending to let “die Sache selbst” (Hegel) speak. From the perspective of critique, on the other hand, the model of value or evaluation has surrendered already from the start to the endless circle of the immanence of life, be it biological or economical. Evaluation stands in the service of self-preservation or -enhancement.
Is this mutual denunciation the last word about critique and value? Do we have to decide between the two, and can we? If one traces Criticism back to its etymological origin (Kritiké) and understands it as a way of separating and differentiating, its evaluative dimension becomes quite obvious. As soon as the critic selects an object as worthwhile her interest and time, she has indeed contributed to it being potentially considered valuable. Criticism is therefore implicated in the formation of value, but it also traditionally aims at questioning existing values. Theories of value are usually marked by a similar critical impetus, and one could go so far as to say that Critique is their modus operandi. As much as Critique takes part in the formation of Value, Value seems to trigger Critique.
Furthermore, both concepts share a metonymic structure: Criticism refers to an object that is outside of it as much as the critic might be deeply affected by it. A similar displacement occurs in Value since there is no „intrinsic value“ as Marx underlined. Value is relational and therefore always to be found elsewhere. But despite its metonymic nature Value needs to get materialized – it has a form, and this renders it similar to the objects of Criticism.
But despite Criticism’s strength as a relational concept it is currently said to have lost its transformative power in a New Economy that is busy absorbing it. We would like to propose a less pessimistic and less totalizing account by distinguishing between different types of Critique and their respective situative potential (such as Luc Boltanski’s model of „Social Critique“, Bruno Latour’s “Critique of Critique”, Rahel Jaeggi’s „Internal Critique“ , Beate Söntgen’s „Kulturen der Kritik“). Each of these models demonstrates how Critique is able to develop its own criteria that are different from the values that it produces. This Conference presupposes, in other words, that it still matters how Criticism argues even if it is complicit with the current power technologies. Instead of endlessly deploring its complicity, we would like to examine how its evaluations differ from the act of evaluation implied in the concept of value.
Veranstaltungsort:
Städelschule
Dürerstraße 10
60596 Frankfurt am Main
Das Symposium ist öffentlich und kostenlos, Reservierungen sind nicht möglich.
Die Mensa ist durchgehend geöffnet.
Montag, 24. Oktober 2016
Pavel Büchler: Work for Words
Vortrag
Pavel Büchler: Work for Words
Dienstag, 1. November 2016, 19 Uhr, Aula
Pavel Büchler will talk about two overlapping interests in his recent work with language: the limitless semantic potential of language and the material and technological limitations and possibilities of working with letters and words. Taking as a starting point the historical links among cryptography, the morse code and letter frequencies, the presentation will explore the 'message' of such media as the letterpress or the current digital language technologies of synthetic speech and Google Translate.
Pavel Büchler (born 1952, Prague, lives in Manchester) describes what he does as 'making nothing happen. He has been exhibiting internationally for over 30 years and is well known for his pioneering work with language, conceptual art and the moving image, as well as his long career as a professor of art. His recent exhibitions include The National Gallery, Prague; Kunsthalle Bremen; IKON Gallery, Birmingham; the Centre for Contemporary Arts, Glasgow; Broad Art Museum, Michigan; Power Plant, Toronto; Museum of Contemporary Art, Denver; Contemporary Art Museum, St. Louis; Centre d'Art Contemporain, Geneva; Museion, Bolzano; DOX, Prague; and Tinguely Museum, Basel.
Der Vortrag finden in englischer Sprache statt.
Pavel Büchler: Work for Words
Dienstag, 1. November 2016, 19 Uhr, Aula
Pavel Büchler will talk about two overlapping interests in his recent work with language: the limitless semantic potential of language and the material and technological limitations and possibilities of working with letters and words. Taking as a starting point the historical links among cryptography, the morse code and letter frequencies, the presentation will explore the 'message' of such media as the letterpress or the current digital language technologies of synthetic speech and Google Translate.
Pavel Büchler (born 1952, Prague, lives in Manchester) describes what he does as 'making nothing happen. He has been exhibiting internationally for over 30 years and is well known for his pioneering work with language, conceptual art and the moving image, as well as his long career as a professor of art. His recent exhibitions include The National Gallery, Prague; Kunsthalle Bremen; IKON Gallery, Birmingham; the Centre for Contemporary Arts, Glasgow; Broad Art Museum, Michigan; Power Plant, Toronto; Museum of Contemporary Art, Denver; Contemporary Art Museum, St. Louis; Centre d'Art Contemporain, Geneva; Museion, Bolzano; DOX, Prague; and Tinguely Museum, Basel.
Der Vortrag finden in englischer Sprache statt.
Montag, 5. September 2016
Fruit of the Gloom ON TOUR
MUSIC // DRINKS // GARDEN // T-SHIRTS // XL // L // M // LIVE
Filmklasse Städelschule: Fruit of the Gloom ON TOUR
Mittwoch, 07. September 2016, 18 - 22 Uhr, Portikus
Hiermit möchtet die Filmklasse der Städelschule Euch ganz herzlich zu der Veranstaltung Fruit of the Gloom ON TOUR: a cover band swag project in den Portikus einladen.
Ausgestellt werden eine limitierte Edition von handbedruckten und selbst-designten Faux Coverband T-Shirts, welche von Douglas Gordon und der Filmklasse entwickelt und produziert wurden. Diese werden an dem Abend zum Verkauf stehen.
Der Portikus markiert hierbei die erste Station des fortlaufenden ON TOUR Projektes der Klasse von Douglas Gordon.
Mit Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen und Douglas Gordon.
Wir freuen uns auf Euer Kommen!
With Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen and Douglas Gordon.
We are looking forward to your visit!
The exhibition the ALL-OVER by Amy Sillman will be open on this day until 10pm.
Filmklasse Städelschule: Fruit of the Gloom ON TOUR
Mittwoch, 07. September 2016, 18 - 22 Uhr, Portikus
Hiermit möchtet die Filmklasse der Städelschule Euch ganz herzlich zu der Veranstaltung Fruit of the Gloom ON TOUR: a cover band swag project in den Portikus einladen.
Ausgestellt werden eine limitierte Edition von handbedruckten und selbst-designten Faux Coverband T-Shirts, welche von Douglas Gordon und der Filmklasse entwickelt und produziert wurden. Diese werden an dem Abend zum Verkauf stehen.
Der Portikus markiert hierbei die erste Station des fortlaufenden ON TOUR Projektes der Klasse von Douglas Gordon.
Mit Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen und Douglas Gordon.
Wir freuen uns auf Euer Kommen!
Die Ausstellung the ALL-OVER von Amy Sillman wird an diesem Abend bis 22 Uhr geöffnet sein.
**********
The Film class of Städelschule would kindly like to invite you to the event Fruit of the Gloom ON TOUR: a cover band swag project at Portikus.
There will be a limited edition of printed faux cover band t-shirts on display and for purchase, which were specially designed and produced by Douglas Gordon and his class. Portikus will be the first iteration of the on-going ON TOUR project.
**********
The Film class of Städelschule would kindly like to invite you to the event Fruit of the Gloom ON TOUR: a cover band swag project at Portikus.
There will be a limited edition of printed faux cover band t-shirts on display and for purchase, which were specially designed and produced by Douglas Gordon and his class. Portikus will be the first iteration of the on-going ON TOUR project.
With Amy Ball, Vivian Abelson, Valentina Knežević, Bernhard Schreiner, François Pispia, James Gregory Atkinson, John Ryan, Zoltan Ará, Samantha Rosner, Louise Jacobs, Bertrand Flanet, Alexey Vanushkin, Jessie Holmes, Cecilia Gerson, Ella CB, James Tunks, Liesel Burisch, Janusch Ertler, Pete Inkpen and Douglas Gordon.
We are looking forward to your visit!
The exhibition the ALL-OVER by Amy Sillman will be open on this day until 10pm.
Dienstag, 5. Juli 2016
***die Veranstaltung fällt leider aus *** Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
***die Veranstaltung fällt leider aus ***
Vortrag Institut für Kunstkritik
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 12. Juli 2016, 19 Uhr, Aula
How do artists confront the acceleration, immaterialization and constant connectedness of our global network society? How do new technologies affect models of subjectivity and of artistic skills?
The paper, that Julia Gelshorn will present, discusses two case studies related to the artists Renée Green and Tacita Dean who make use of digression, deceleration, location, and materialization in order to create the experience of space and duration. What is the relation between stories and history, what role does the location play in contrast to the idea of global flow? In the work of Green and Dean, the biographic narration of networked selves becomes an exemplary microcosm as part of a large continuum of contingencies and analogies. The network as the paradigm of our contemporary world is thereby aesthetically and ideologically revaluated and filled with “life”.
Julia Gelshorn (1974, Aachen) studied art history, theater, film and media, as well as Italian language and literature in Cologne and in Bern. In 2003 she recieved her PHD with a dissertation on "Appropiating Art History. Strategies of Repetition in the work of Gerhard Richter and Sigmar Polke". After teaching and research stints at universities in Zurich, Paris, Karlsruhe, Vienna and Hamburg, she has since 2013 been professor of art history at the University of Fribourg (CH).
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
***die Veranstaltung fällt leider aus ***
Vortrag Institut für Kunstkritik
Julia Gelshorn: Living Networks. Rhizomatic Narration in the work of Renée Green and Tacita Dean
Dienstag, 12. Juli 2016, 19 Uhr, Aula
How do artists confront the acceleration, immaterialization and constant connectedness of our global network society? How do new technologies affect models of subjectivity and of artistic skills?
The paper, that Julia Gelshorn will present, discusses two case studies related to the artists Renée Green and Tacita Dean who make use of digression, deceleration, location, and materialization in order to create the experience of space and duration. What is the relation between stories and history, what role does the location play in contrast to the idea of global flow? In the work of Green and Dean, the biographic narration of networked selves becomes an exemplary microcosm as part of a large continuum of contingencies and analogies. The network as the paradigm of our contemporary world is thereby aesthetically and ideologically revaluated and filled with “life”.
Julia Gelshorn (1974, Aachen) studied art history, theater, film and media, as well as Italian language and literature in Cologne and in Bern. In 2003 she recieved her PHD with a dissertation on "Appropiating Art History. Strategies of Repetition in the work of Gerhard Richter and Sigmar Polke". After teaching and research stints at universities in Zurich, Paris, Karlsruhe, Vienna and Hamburg, she has since 2013 been professor of art history at the University of Fribourg (CH).
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
***die Veranstaltung fällt leider aus ***
Dienstag, 21. Juni 2016
Amy Sillman: Artist Talk
Vortrag
Amy Sillman: Artist Talk
Montag, 27. Juni 2016, 19 Uhr, Aula
Amy Sillman is interested in painting and drawing, and how form gets entangled with other things, such as poetry, gesture, time, video/film, affect, feminism and humor. In her artist talk, she will outline the development of her work and process, and will discuss how various side-projects (such as zines and digital animations) have become more central to her practice as a painter. Sillman will also introduce her upcoming project for Portikus.
Sillman has lived in New York City since 1975, where she first studied Japanese language, before turning to painting. She received an MFA from Bard College in 1995, and has shown regularly since then, including such venues as The Whitney Museum, MoMA, and The San Francisco Museum of Modern Art. Her work is currently on view in Painting 2.0 at MuMOK in Vienna, and a group show at Barbara Gladstone in NYC. She is currently working on a digital animation about Ovid's Metamorphoses, which will be shown in January 2017 at The Drawing Center in NYC.
Amy Sillman has been a professor at Städelschule since Spring 2015.
Der Vortrag finden in englischer Sprache statt.
Amy Sillman: Artist Talk
Montag, 27. Juni 2016, 19 Uhr, Aula
Amy Sillman is interested in painting and drawing, and how form gets entangled with other things, such as poetry, gesture, time, video/film, affect, feminism and humor. In her artist talk, she will outline the development of her work and process, and will discuss how various side-projects (such as zines and digital animations) have become more central to her practice as a painter. Sillman will also introduce her upcoming project for Portikus.
Sillman has lived in New York City since 1975, where she first studied Japanese language, before turning to painting. She received an MFA from Bard College in 1995, and has shown regularly since then, including such venues as The Whitney Museum, MoMA, and The San Francisco Museum of Modern Art. Her work is currently on view in Painting 2.0 at MuMOK in Vienna, and a group show at Barbara Gladstone in NYC. She is currently working on a digital animation about Ovid's Metamorphoses, which will be shown in January 2017 at The Drawing Center in NYC.
Amy Sillman has been a professor at Städelschule since Spring 2015.
Der Vortrag finden in englischer Sprache statt.
Freitag, 17. Juni 2016
Jimmy Durham & Dirk Snauwaert
MMK Talks
Jimmy Durham & Dirk Snauwaert
Freitag, 8. Juli 2016, 19 Uhr, MMK 2
The concept artist, poet and activist Jimmie Durham has been politically active in the American civil rights movement since the early 1960s. His multi-faceted oeuvre is concerned with the relationship between history and context, architecture and monumentality, and takes a critical stance towards political power structures and narrations of national identity. He has an international reputation as one of the most prominent artists of the present and has been honoured with a large number of awards and exhibitions, for example at the Venice Biennale (1999, 2015, etc.) the Documenta (2012, 1992) and the 29th São Paulo Biennale (2010). He is represented in the exhibition An Imagined Museum at the MMK.
In conversation with:
Dirk Snauwaert has been the artistic director of the WIELS centre of contemporary art in Brussels since 2005. He has organized a large number of exhibitions internationally; at the 53rd Venice Biennale (2009) he curated the Belgian pavilion. In 1993 he staged the first Durham retrospective at the Palais des Beaux Arts in Brussels.
Der Vortrag findet in englischer Sprache statt.
Eintritt frei
Jimmy Durham & Dirk Snauwaert
Freitag, 8. Juli 2016, 19 Uhr, MMK 2
The concept artist, poet and activist Jimmie Durham has been politically active in the American civil rights movement since the early 1960s. His multi-faceted oeuvre is concerned with the relationship between history and context, architecture and monumentality, and takes a critical stance towards political power structures and narrations of national identity. He has an international reputation as one of the most prominent artists of the present and has been honoured with a large number of awards and exhibitions, for example at the Venice Biennale (1999, 2015, etc.) the Documenta (2012, 1992) and the 29th São Paulo Biennale (2010). He is represented in the exhibition An Imagined Museum at the MMK.
In conversation with:
Dirk Snauwaert has been the artistic director of the WIELS centre of contemporary art in Brussels since 2005. He has organized a large number of exhibitions internationally; at the 53rd Venice Biennale (2009) he curated the Belgian pavilion. In 1993 he staged the first Durham retrospective at the Palais des Beaux Arts in Brussels.
Der Vortrag findet in englischer Sprache statt.
Eintritt frei
Banu Cennetoğlu & Vasif Kortun
MMK Talks
Banu Cennetoğlu & Vasif Kortun:
Donnerstag, 30. Juni 2016, 19 Uhr, MMK 1
The artist Banu Cennetoğlu explores the political, social and cultural dimension of the production,
representation and distribution of knowledge and asks how it feeds into a society’s collective thought
and becomes part of its ideology. Cennetoğlu has participated in major international exhibitions such
as the 10th Gwangju Biennale, South Korea; at the 53rd Venice Biennale (2009) she and Ahmet Öğüt
represented Turkey. She is represented at the 13th Fellbach Triennial of Small-Scale Sculpture (2016).
In conversation with:
The free-lance critic and curator Vasif Kortun is known as one of the most important critical voices in
the discourse on Turkey’s radically changing cultural politics. He has organized numerous international exhibitions focussing on art production in Turkey, for example the 3rd and 9th International Istanbul Biennale (1992 and 2005) as well as the Turkish pavilions at the São Paulo Biennale (1994 and 1998) and at the 52nd Venice Biennale (2007).
Der Vortrag findet in englischer Sprache statt.
Eintritt frei.
Banu Cennetoğlu & Vasif Kortun:
Donnerstag, 30. Juni 2016, 19 Uhr, MMK 1
The artist Banu Cennetoğlu explores the political, social and cultural dimension of the production,
representation and distribution of knowledge and asks how it feeds into a society’s collective thought
and becomes part of its ideology. Cennetoğlu has participated in major international exhibitions such
as the 10th Gwangju Biennale, South Korea; at the 53rd Venice Biennale (2009) she and Ahmet Öğüt
represented Turkey. She is represented at the 13th Fellbach Triennial of Small-Scale Sculpture (2016).
In conversation with:
The free-lance critic and curator Vasif Kortun is known as one of the most important critical voices in
the discourse on Turkey’s radically changing cultural politics. He has organized numerous international exhibitions focussing on art production in Turkey, for example the 3rd and 9th International Istanbul Biennale (1992 and 2005) as well as the Turkish pavilions at the São Paulo Biennale (1994 and 1998) and at the 52nd Venice Biennale (2007).
Der Vortrag findet in englischer Sprache statt.
Eintritt frei.
Jace Clayton: Listening When God is in the Room
Vortrag
Jace Clayton: Listening When God is in the Room
Dienstag, 28. Juni 2016, 19 Uhr, Aula
What’s so special about experiencing sound in a packed club? Why does music sound better when God is in the room? How did supercomputers listening to geology improve pop music? In the lecture, Jace Clayton (aka DJ /rupture) will explore these questions. From personal stories of after-hours dancing in Boston and Jamaica to a discussion of Koranic recitation in Egypt. Listening audiences considered from the body, the earth below, and the heavens above.
Jace Clayton is an artist and writer based in New York, also known for his work as DJ /rupture. Clayton uses an interdisciplinary approach to focus on how sound, memory, and public space interact, with an emphasis on low-income communities and the global South. His book Uproot: Travels in 21st Century Music and Digital Culture will be published in August by Farrar, Straus and Giroux. Recent projects include Sufi Plug Ins, a free suite of music software-as-art, based on non-western conceptions of sound and alternative interfaces; and The Julius Eastman Memorial Dinner, a touring performance piece for grand pianos, electronics, and voice.
Jace Clayton: Listening When God is in the Room
Dienstag, 28. Juni 2016, 19 Uhr, Aula
Jace Clayton is an artist and writer based in New York, also known for his work as DJ /rupture. Clayton uses an interdisciplinary approach to focus on how sound, memory, and public space interact, with an emphasis on low-income communities and the global South. His book Uproot: Travels in 21st Century Music and Digital Culture will be published in August by Farrar, Straus and Giroux. Recent projects include Sufi Plug Ins, a free suite of music software-as-art, based on non-western conceptions of sound and alternative interfaces; and The Julius Eastman Memorial Dinner, a touring performance piece for grand pianos, electronics, and voice.
As DJ /rupture, he has released several critically acclaimed albums and hosted a weekly radio show on WFMU for five years. Clayton’s collaborators include filmmakers Jem Cohen, Joshua Oppenheimer, poet Elizabeth Alexander, singer Norah Jones, and guitarist Andy Moor (The Ex). Clayton joined the Music/Sound faculty of Bard College’s MFA program in 2013 and is a 2014 New York Foundation for the Arts Nonfiction Literature fellow. More info at jaceclayton.com | @djrupture
Der Vortrag finden in englischer Sprache statt.
Heba Y. Amin: Subverting the Media as Artistic Practice
Vortrag
Heba Y. Amin: Subverting the Media as Artistic Practice
Dienstag, 21. Juni 2016, 19 Uhr, Aula
Heba Y. Amin is an Egyptian visual artist and scholar whose work is embedded in extensive research addressing the convergence of politics, technology, and urbanism. She is particularly interested in tactics of subversion and techniques used to undermine systems as well as topics surrounding critical spatial practice and critical geography. While often relating to the contemporary political situation in Egypt, she doesn’t see art simply as a tool for political transformation, but is rather interested in how art and politics can interact in multiple complex ways. Amin is also one of the artists behind the subversive action on the set of the television series “Homeland” which received worldwide media attention and led to the making of the short film "Homeland is not a Series" produced by Field of Vision (The Intercept).
Dienstag, 21. Juni 2016, 19 Uhr, Aula
Heba Y. Amin is an Egyptian visual artist and scholar whose work is embedded in extensive research addressing the convergence of politics, technology, and urbanism. She is particularly interested in tactics of subversion and techniques used to undermine systems as well as topics surrounding critical spatial practice and critical geography. While often relating to the contemporary political situation in Egypt, she doesn’t see art simply as a tool for political transformation, but is rather interested in how art and politics can interact in multiple complex ways. Amin is also one of the artists behind the subversive action on the set of the television series “Homeland” which received worldwide media attention and led to the making of the short film "Homeland is not a Series" produced by Field of Vision (The Intercept).
Amin received her MFA at the University of Minnesota and is a DAAD grant recipient (2010-2012), a Rhizome Commissions grant winner (2009) and a recent short-listed artist for the Artraker prize (2014). She is currently the curator of visual art for MIZNA journal (US), curator for the biennial residency program DEFAULT with Ramdom Association (IT) and co-founder of the Black Athena Collective. Her artistic work has been shown worldwide with recent exhibitions at Dak’Art 2016 Biennale, the Marrakech Biennale 2016 Parallel Projects, the Museum of Modern Art in Warsaw, the Kunstverein Hamburg, Berlin Berlinale Forum Expanded (2014, 2016), and the IV Moscow International Biennale for Young Art. She lives between Berlin and Cairo. More information on her work can be found at www.hebaamin.com.
Der Vortrag findet in englischer Sprache statt.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 14. Juni 2016
Benjamin Buchloh: Looking Back at Books
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Benjamin Buchloh: Looking Back at Books
Mittwoch, 22. Juni 2016, 19 Uhr, Aula
Just when the cultural tendencies at large have declared the end of the print media in general - and the disappearance of the book in particular - it seems appropriate to look back once more in slight wonder and bewilderment at the euphoria with which books was celebrated at the onset of Conceptual Art in the early to the mid 1960s; celebrated as an event of a revolutionary revision of all previously existing forms of artistic production and distribution.
The lecture attempts to clarify that historical moment, its blind enthusiasm and its hypertrophic delusions resulting from a deep investment in a belief, that technological changes in book form would actually contribute inevitably to progressive forms of perception and overall processes of socio-political enlightenment.
At the same time, the lecture attempts also to invert the traditionally optimistic reading of these Conceptual books from Ed Ruscha in 1962 to Lawrence Weiner, and from Bernd and Hilla Becher to Marcel Broodthaers in 1968. And we will try to historicize the strangely antiquated utopian belief of these artists in the power of books, as a peculiar misreading. Rather than being endowed with an emerging radicality of the transformations of readerly and writerly forms of experience, the printing and photographic technologies of these books were by that time actually threatened with disappearance and extinction, as we now know.
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Benjamin Buchloh: Looking Back at Books
Mittwoch, 22. Juni 2016, 19 Uhr, Aula
The lecture attempts to clarify that historical moment, its blind enthusiasm and its hypertrophic delusions resulting from a deep investment in a belief, that technological changes in book form would actually contribute inevitably to progressive forms of perception and overall processes of socio-political enlightenment.
At the same time, the lecture attempts also to invert the traditionally optimistic reading of these Conceptual books from Ed Ruscha in 1962 to Lawrence Weiner, and from Bernd and Hilla Becher to Marcel Broodthaers in 1968. And we will try to historicize the strangely antiquated utopian belief of these artists in the power of books, as a peculiar misreading. Rather than being endowed with an emerging radicality of the transformations of readerly and writerly forms of experience, the printing and photographic technologies of these books were by that time actually threatened with disappearance and extinction, as we now know.
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century.
Donnerstag, 23. Juni 2016, 19 Uhr, Aula
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century.
Donnerstag, 23. Juni 2016, 19 Uhr, Aula
For the last almost two decades artists have become role-models within contemporary society. A development which is largely due to the characteristics ascribed to them: freedom, creativity and self-determination. The appropriation of these qualities within social contexts, however, is taking place with contradictory signs: While on the one hand, what is asked for, is the use of self-organizational skills in working contexts, synergetic exchanges between different forms of knowledge production and innovative potentials of economic or ecological development processes. What is overlooked on the other hand is that these qualities precisely elude demands of utility or efficiency.
In times of the newly reheated debates on the Bologna process, the precarious working conditions in a post-fordist economy and the continuing instrumentalization of the so-called creative class how does this affect the image of the artist? Instead of being economically appropriated how can the assigned qualities - as parts of this image - become culturally, socially and politically operative again?
In times of the newly reheated debates on the Bologna process, the precarious working conditions in a post-fordist economy and the continuing instrumentalization of the so-called creative class how does this affect the image of the artist? Instead of being economically appropriated how can the assigned qualities - as parts of this image - become culturally, socially and politically operative again?
Beatrice von Bismarck is professor for art history and visual studies at the Hochschule für Grafik und Buchkunst (HGB) Leipzig and program director of the academy’s own gallery. She lives in Berlin and Leipzig.
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Die Veranstaltung findet in englischer Sprache statt.
Mittwoch, 8. Juni 2016
Julia Moritz & Yannic Joray: Zerschwörung - from Freeport to Deepscum
Vortrag
Julia Moritz & Yannic Joray: ZERSCHWÖRUNG - A SORCERER'S APPENDIX
Mittwoch, 6. Juni 2016, 19 Uhr, Aula
On a journey with the enigmatic literary figure Nemo, this lecture, reading, and discussion session by Julia Moritz and Yannic Joray dives into some subaltern layer of trans-atlantic relations that we suggest to take back into account for contemporary critical cultural analysis, particularly with regard to neoliberal macro-politics and their resulting institutional templates for Art.
In canonical art history lessons, the Salon de Refusés in Paris (1863) and the succeeding Salon des Indépendants marks a corrective and consequential move away from the cultural establishment courting the Royal Academy. For the first time, exhibitions and art fairs with an ‘open call’ policy addressed their bourgeois audiences directly (viewers and buyer alike) in order to approve their programming (and not the Royal Jury anymore). This supposedly rebellious and so called ‘birth of modernity’ was saluted by Napoleon III and the likes and so -- we propose a diverging, more literal reading of this landmark moment in Art’s struggle for autonomy: Jules Verne’s timely as well as trans-historical figure Captain Nemo, the deep sea dweller, the protagonist of Twenty Thousand Leagues Under the Seas: An Underwater Tour of the World (1869/70).
Persistingly penetrating British colonial maritime merchant vessels, the submariner Nemo was described by Verne as of Indian descent and therefore keen to avenge Imperial abuse overseas. Not unlike a sequel to Moby Dick, the story begins with Nemo abducting a group of American whalers and inducting them (and the reader) on board the Nautilus to his covert operation. Here, it will be important to consider that during imperial British rule, the military force and trading monopoly in the colonies was solidified, guaranteed and paid for by the British East India Company (EIC, 1600-1874) and the Bank of England -- the very first of a ‘too big to fail’ multinational shareholder company.
This session seeks to orient ourselves and each other in this politico-economical history and its cultural ramifications in order to position our thinking and practice with regard to the tragedy and farce of current global phenomena such as the financial crisis of 2008, the subsequent credit crunch, the easing of monetary policies, and the dominance of central banking. The notion of "tra(ns)versality" (Felix Guattari) and its various mutations may further our speculative inquiry into the meaning of making and moving, including the challenges that recent changes in structure and speed pose to artistic practice and theory alike.
Reference:
http://www.ibiblio.org/julesverne/books/20t_with_5th_reprint_revisions.pdf
Julia Moritz is an art historian and curator currently employed as a Curator of Theory and Programmes at Kunsthalle Zurich. Before, she has headed The Maybe Education and Public Programs of dOCUMENTA (13) in Kassel, Germany (2012). These programmes have intended to nurture the imaginative state needed to inhabit the realm of the “maybe” – of the possible. Moritz was also a curator at the University of Lüneburg (2012) where she has organized the exhibitions and events program of the university’s art space (Kunstraum) and has taught seminars in the cultural studies teaching program. She has worked for major exhibitions such as Manifesta 7 in Trentino/Alto Adige (2008); the German Pavilion at the 52th Biennale di Venezia (2007) and has independently curated several smaller scale projects such as most recently the Young Girl Reading Group Show (with Dorota Gaweda & Egle Kulbokaite, 2016). Moritz has co-edited the volume “Question of the Day” (2007) in which she puts forward a dialogical inquiry into the formats used for art production and distribution that she further elaborated in a PhD dissertation (2010) on institutional critical practice in spaces of conflict (such as the Basque Country), mainly written at the Whitney Independent Studies Program (2009).
Yannic Joray is an artist based in Zurich. He has recently taught seminars at the ZHdK Zurich University of Arts (2015) and the FHNW Academy of Art and Design in Basel (2015) together with Julia Moritz. The course at the ZHdK focused on the Kunsthalle Zürich’s 30-year anniversary and it’s programmatic shifts. Twelve guests joined the seminar, including artist Pauline Boudry and Manifesta 11 curatorial advisor John Beeson. Joray’s works where recently shown at Kunsthalle Bern (2015) and The Duck, Berlin (2015). Together with Lorenzo Bernet, Fredi Fischli and Luca Beeler he co-curated several project spaces in Zurich.
Der Vortrag findet in englischer Sprache statt.
Julia Moritz & Yannic Joray: ZERSCHWÖRUNG - A SORCERER'S APPENDIX
Mittwoch, 6. Juni 2016, 19 Uhr, Aula
On a journey with the enigmatic literary figure Nemo, this lecture, reading, and discussion session by Julia Moritz and Yannic Joray dives into some subaltern layer of trans-atlantic relations that we suggest to take back into account for contemporary critical cultural analysis, particularly with regard to neoliberal macro-politics and their resulting institutional templates for Art.
In canonical art history lessons, the Salon de Refusés in Paris (1863) and the succeeding Salon des Indépendants marks a corrective and consequential move away from the cultural establishment courting the Royal Academy. For the first time, exhibitions and art fairs with an ‘open call’ policy addressed their bourgeois audiences directly (viewers and buyer alike) in order to approve their programming (and not the Royal Jury anymore). This supposedly rebellious and so called ‘birth of modernity’ was saluted by Napoleon III and the likes and so -- we propose a diverging, more literal reading of this landmark moment in Art’s struggle for autonomy: Jules Verne’s timely as well as trans-historical figure Captain Nemo, the deep sea dweller, the protagonist of Twenty Thousand Leagues Under the Seas: An Underwater Tour of the World (1869/70).
Persistingly penetrating British colonial maritime merchant vessels, the submariner Nemo was described by Verne as of Indian descent and therefore keen to avenge Imperial abuse overseas. Not unlike a sequel to Moby Dick, the story begins with Nemo abducting a group of American whalers and inducting them (and the reader) on board the Nautilus to his covert operation. Here, it will be important to consider that during imperial British rule, the military force and trading monopoly in the colonies was solidified, guaranteed and paid for by the British East India Company (EIC, 1600-1874) and the Bank of England -- the very first of a ‘too big to fail’ multinational shareholder company.
This session seeks to orient ourselves and each other in this politico-economical history and its cultural ramifications in order to position our thinking and practice with regard to the tragedy and farce of current global phenomena such as the financial crisis of 2008, the subsequent credit crunch, the easing of monetary policies, and the dominance of central banking. The notion of "tra(ns)versality" (Felix Guattari) and its various mutations may further our speculative inquiry into the meaning of making and moving, including the challenges that recent changes in structure and speed pose to artistic practice and theory alike.
Reference:
http://www.ibiblio.org/julesverne/books/20t_with_5th_reprint_revisions.pdf
Julia Moritz is an art historian and curator currently employed as a Curator of Theory and Programmes at Kunsthalle Zurich. Before, she has headed The Maybe Education and Public Programs of dOCUMENTA (13) in Kassel, Germany (2012). These programmes have intended to nurture the imaginative state needed to inhabit the realm of the “maybe” – of the possible. Moritz was also a curator at the University of Lüneburg (2012) where she has organized the exhibitions and events program of the university’s art space (Kunstraum) and has taught seminars in the cultural studies teaching program. She has worked for major exhibitions such as Manifesta 7 in Trentino/Alto Adige (2008); the German Pavilion at the 52th Biennale di Venezia (2007) and has independently curated several smaller scale projects such as most recently the Young Girl Reading Group Show (with Dorota Gaweda & Egle Kulbokaite, 2016). Moritz has co-edited the volume “Question of the Day” (2007) in which she puts forward a dialogical inquiry into the formats used for art production and distribution that she further elaborated in a PhD dissertation (2010) on institutional critical practice in spaces of conflict (such as the Basque Country), mainly written at the Whitney Independent Studies Program (2009).
Yannic Joray is an artist based in Zurich. He has recently taught seminars at the ZHdK Zurich University of Arts (2015) and the FHNW Academy of Art and Design in Basel (2015) together with Julia Moritz. The course at the ZHdK focused on the Kunsthalle Zürich’s 30-year anniversary and it’s programmatic shifts. Twelve guests joined the seminar, including artist Pauline Boudry and Manifesta 11 curatorial advisor John Beeson. Joray’s works where recently shown at Kunsthalle Bern (2015) and The Duck, Berlin (2015). Together with Lorenzo Bernet, Fredi Fischli and Luca Beeler he co-curated several project spaces in Zurich.
Der Vortrag findet in englischer Sprache statt.
„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen
Tagung, eine Kooperation des MMK Museum für Moderne Kunst Frankfurt am Main, der Curatorial Studies und des Kunstgeschichtlichen Instituts der Goethe-Universität Frankfurt.
„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen
Samstag, 2. Juli 2016, 10 Uhr, MMK 1, Vortragssaal
Die Ausstellung „Das imaginäre Museum“ skizziert ein ebenso faszinierendes wie bedrohliches Zukunftsszenario. Es stellt die Selbstverständlichkeit des Museums als einer gesellschaftlich etablierten Institution in Frage.
Ausgehend von André Malraux’ Essay „Musée imaginaire“ werden im Rahmen der Tagung verschiedene künstlerische und literarische Museumsfiktionen diskutiert. Immer wieder haben sich Künstlerinnen und Künstler kritisch und programmatisch mit der Institution ‚Museum‘ auseinandergesetzt. Sie haben danach gefragt, was mit ihren Arbeiten geschieht, wenn sie ins Museum überführt werden. Wie wird ausgewählt und wie bewertet? Umso mehr haben sie die Institution und die damit verbundenen Akteure in den Blick genommen.
Dabei fällt auf, dass das Museum auch in seiner klassischen Form keineswegs nur Anlass zu Kritik gegeben hat, sondern immer auch als Ankerpunkt für künstlerische Experimentalanordnungen nutzbar gemacht wurde. Bei Künstlern und Wissenschaftlern finden sich sowohl Konzepte mit alternativen Präsentationsformen und Objektnachbarschaften, als auch Utopien, die Musealisierungen in Frage stellen und neu denken.
Nicht zuletzt soll auf dieser Basis eine diagnostische Perspektive interessieren: Wie ist es um die Gegenwart des Museums bestellt, wenn seine Selbstverständlichkeit in Frage gestellt ist?
Eine Anmeldung ist nicht erforderlich, der Eintritt ist frei.
Programm
Samstag, 2. Juli 2016
9:30 Uhr
Begrüßung
Peter Gorschlüter
9:45 Uhr
Einführung
Christian Spies und Stefanie Heraeus
10:00 Uhr
Dieter Daniels (Leipzig)
The imaginary readymade
11:00 Uhr
Sebastian Egenhofer (Wien)
Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles, 1968-72
Bis 13:30 Uhr Mittagspause
13:30 Uhr
Dirk Hildebrandt (Frankfurt)
Das Museum als Funktion. Allan Kaprow und die Genese des Happening
14:30 Uhr
Anne-Marie Bonnet (Bonn)
Das Museum meiner Träume
16:00 Uhr
Peter Gorschlüter (Frankfurt)
Führung durch die Ausstellung Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK (MMK 2 im Taunus Turm)
17.30 Uhr Ende der Tagung
„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen
Samstag, 2. Juli 2016, 10 Uhr, MMK 1, Vortragssaal
Die Ausstellung „Das imaginäre Museum“ skizziert ein ebenso faszinierendes wie bedrohliches Zukunftsszenario. Es stellt die Selbstverständlichkeit des Museums als einer gesellschaftlich etablierten Institution in Frage.
Ausgehend von André Malraux’ Essay „Musée imaginaire“ werden im Rahmen der Tagung verschiedene künstlerische und literarische Museumsfiktionen diskutiert. Immer wieder haben sich Künstlerinnen und Künstler kritisch und programmatisch mit der Institution ‚Museum‘ auseinandergesetzt. Sie haben danach gefragt, was mit ihren Arbeiten geschieht, wenn sie ins Museum überführt werden. Wie wird ausgewählt und wie bewertet? Umso mehr haben sie die Institution und die damit verbundenen Akteure in den Blick genommen.
Dabei fällt auf, dass das Museum auch in seiner klassischen Form keineswegs nur Anlass zu Kritik gegeben hat, sondern immer auch als Ankerpunkt für künstlerische Experimentalanordnungen nutzbar gemacht wurde. Bei Künstlern und Wissenschaftlern finden sich sowohl Konzepte mit alternativen Präsentationsformen und Objektnachbarschaften, als auch Utopien, die Musealisierungen in Frage stellen und neu denken.
Nicht zuletzt soll auf dieser Basis eine diagnostische Perspektive interessieren: Wie ist es um die Gegenwart des Museums bestellt, wenn seine Selbstverständlichkeit in Frage gestellt ist?
Eine Anmeldung ist nicht erforderlich, der Eintritt ist frei.
Programm
Samstag, 2. Juli 2016
9:30 Uhr
Begrüßung
Peter Gorschlüter
9:45 Uhr
Einführung
Christian Spies und Stefanie Heraeus
10:00 Uhr
Dieter Daniels (Leipzig)
The imaginary readymade
11:00 Uhr
Sebastian Egenhofer (Wien)
Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles, 1968-72
Bis 13:30 Uhr Mittagspause
13:30 Uhr
Dirk Hildebrandt (Frankfurt)
Das Museum als Funktion. Allan Kaprow und die Genese des Happening
14:30 Uhr
Anne-Marie Bonnet (Bonn)
Das Museum meiner Träume
16:00 Uhr
Peter Gorschlüter (Frankfurt)
Führung durch die Ausstellung Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK (MMK 2 im Taunus Turm)
17.30 Uhr Ende der Tagung
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