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.
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