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.
Montag, 31. Oktober 2016
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.
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