Dienstag, 5. Dezember 2017
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Vortrag
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Donnerstag, 14. Februar 2017, 19 Uhr, Aula
In opposition to the arbitrary, which is the origin of every written and spoken language, I have placed the unspoken, the mystic. From dispair to ecstasy, that is what the mystic is about now. This is the all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analogue. The analogue versus the arbitrary. The analogue is ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness, transparency. The analogue plus the digital is what humans are about: perspective.
Anne-Mie van Kerckhoven (*1951, Antwerpen/BE) lives and works in Antwerpen.
Working across historical boundaries and artistic disciplines, Anne-Mie van Kerckhoven explores different ways of describing the world, which she locates between the antitheses of eros and ratio. In terms of content, this is linked on the one hand to concepts of the sexualized female body, and on the other to a technoid algorithmic logic; formally, this tension manifests itself in both computer-generated and hand-drawn images.
Der Vortrag findet in englischer Sprache statt.
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Donnerstag, 14. Februar 2017, 19 Uhr, Aula
In opposition to the arbitrary, which is the origin of every written and spoken language, I have placed the unspoken, the mystic. From dispair to ecstasy, that is what the mystic is about now. This is the all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analogue. The analogue versus the arbitrary. The analogue is ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness, transparency. The analogue plus the digital is what humans are about: perspective.
Anne-Mie van Kerckhoven (*1951, Antwerpen/BE) lives and works in Antwerpen.
Working across historical boundaries and artistic disciplines, Anne-Mie van Kerckhoven explores different ways of describing the world, which she locates between the antitheses of eros and ratio. In terms of content, this is linked on the one hand to concepts of the sexualized female body, and on the other to a technoid algorithmic logic; formally, this tension manifests itself in both computer-generated and hand-drawn images.
Der Vortrag findet in englischer Sprache statt.
Portikus Eröffnung: Moyra Davey: Hell Notes
Portikus Eröffnung
09.12.2017–28.01.2018
Eröffnung / Opening: 08.12.2017, 19h
Deutsch: http://www.portikus.de/de/exhibitions/210_hell_notes
Portikus is pleased to announce the exhibition "Hell Notes" by Canadian artist Moyra Davey, her first institutional solo exhibition in Germany. Davey works as a photographer and author, and over the last several years has created work that combines the two fields. One must also consider her a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes and integrates writings into her works. In this sense, she equates taking photographs that capture her surroundings, with writing notes while reading. Since the late 1980s, Davey has created a number of photographic series dealing with everyday motifs in her environment. These include serial shots of New York City newsstands, empty whiskey bottles, scenes from cafés or libraries, shots of people on the subway, and ever-more reduced images of her apartment.
While Davey presented new photographic and film works at the recently ended documenta14 in Athens and Kassel, the exhibition at Portikus features an older work: the film after which the exhibition is named, "Hell Notes" (1990). Shown only once in 1991 at a screening at the Collective for Living Cinema in New York, the film is complemented by the photographic series "Copperheads" (1990-ongoing).
The "Copperheads" are photographic reproductions of Abraham Lincoln’s (1809-1865) profile on the American one-cent coin. These are macro photos; very enlarged depictions of the former American president on the lowest-value coin in the US. This ongoing work emerged in a time of political upheaval, marked by the American financial crisis of the 1980s, as well as the fall of the Berlin Wall and the concomitant media-celebrated end of communism. Minted on a coin, the face of Abraham Lincoln as a symbol of freedom is a commentary on developments pertaining to the idea of freedom after the end of the Cold War.
Although "Copperheads" began in the 1990s, the work, consisting of hundreds of images is more relevant today than ever before. The sheer quantity of photographs of different penny coins underlines their actual use as a means of payment, passed hand to hand and covered with countless traces of use. Their surfaces vary – sometimes notched, scarred, tarnished or rusted – making them reminiscent of aerial photographs of deserted, unknown terrains. As an analysis and at the same time fascinated by the psychology of money, Davey wrote in 2010:
"When I began collecting pennies for the Copperhead series, I’d just moved to NY, had no money and was thinking a lot about the psychology of money: Freudian ideas that equate money with excrement; the Potlatch custom of shaming a rival with extravagant gifts; profiles of 19th century misers; and one famous counterfeiter."
The "Copperheads" are a direct manifestation of her work on the film "Hell Notes" (1990), a 26-minute work shot on Super-8. In principle, within the film Davey develops theories on the nature of money. We see images from New York in the late 1980s, learn about the skyscrapers that characterize Wall Street and hear background information about the bedrock in Central Park and the construction of the Cathedral of Saint John the Divine. At the center of the film is the artist herself, sitting on a park bench talking about money and feces, the devil and hell. Somehow humorous and yet serious, she draws a long line from the Reformation and the Indulgences to links between money and religion.
The exhibition and the film "Hell Notes" at Portikus is a psychoanalytic exploration of currency and value, materiality and function. The older works presented here aim to provide an introduction to the work of Moyra Davey, which has grown in size and complexity over the years. In times of increasing acceleration of art production and mediation, the exhibition allows a concentrated focus on a specific work that, despite the year it began decades ago, is relevant still.
The exhibition is supported by the Embassy of Canada in Germany.
The exhibition "Hell Notes" by Moyra Davey is co-produced in collaboration with Bielefelder Kunstverein, where her work will be on view in early 2018.
www.portikus.de
Maininsel 2, Frankfurt am Main
Donnerstag, 30. November 2017
Moyra Davey: Artist Talk
Vortrag
Moyra Davey: Artist Talk
Donnerstag, 7. Dezember 2017, 19 Uhr, Aula
Moyra Davey works as a photographer and author and over the last few years has created a work that combines the two fields. One must also consider her as a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes, and integrates writings into her works and negotiates them. In this sense, she equates taking photographs as capturing her surroundings with writing notes while reading.
The artist talk will accompany her exhibition at Portikus titled Hell Notes, which will open on Friday, Dec 8 at 19h.
Moyra Davey was born in Toronto in 1958. She earned a BFA from Concordia University, Montreal, in 1982, and an MFA from the University of California San Diego in 1988. In 1989, she attended the Independent Study Program at the Whitney Museum of American Art, New York.
Der Vortrag findet in englischer Sprache statt.
Moyra Davey: Artist Talk
Donnerstag, 7. Dezember 2017, 19 Uhr, Aula
Moyra Davey works as a photographer and author and over the last few years has created a work that combines the two fields. One must also consider her as a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes, and integrates writings into her works and negotiates them. In this sense, she equates taking photographs as capturing her surroundings with writing notes while reading.
The artist talk will accompany her exhibition at Portikus titled Hell Notes, which will open on Friday, Dec 8 at 19h.
Moyra Davey was born in Toronto in 1958. She earned a BFA from Concordia University, Montreal, in 1982, and an MFA from the University of California San Diego in 1988. In 1989, she attended the Independent Study Program at the Whitney Museum of American Art, New York.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 29. November 2017
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Vortrag
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Mittwoch, 6. December 2017, 19 Uhr, Aula
Humans are committing omnicide, proselytized globally via Western notions of extraction, exploitation and finance crapital. Our Enlightenment-tinged operational institutions have wreaked havoc, yet convince us daily that they will, in fact, resolve this myriad of current irresolvable human conditions.
These institutions have instilled within us the annihilating mechanism of value, relying on the failed irrationality of human supremacy. This silly dogma of homo economicus externalizes all that is non-human in this world-for-us. It's crystal clear that the interrelation of planetary life forms has been lost on what we call the contemporary. Reason: unknown. As stated in 2005 by Oren R. Lyons, Faithkeeper of the Turtle Clan of the Onondaga Nation, "What you call resources, we call our relatives". We will discuss together.
A.L. Steiner utilizes constructions of photography, video, installation, collage, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer ecofeminist androgyne. Steiner is co-curator of Ridykeulous, co-founder of Working Artists and the Greater Economy (W.A.G.E.), a collective member of Chicks on Speed, and collaborates with numerous writers, performers, designers, activists and artists. She is MFA Faculty in Visual Arts at Bard College, Yale University and School of the Art Institute of Chicago and is based in Los Angeles and New York.
Der Vortrag findet in englischer Sprache statt.
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Mittwoch, 6. December 2017, 19 Uhr, Aula
Humans are committing omnicide, proselytized globally via Western notions of extraction, exploitation and finance crapital. Our Enlightenment-tinged operational institutions have wreaked havoc, yet convince us daily that they will, in fact, resolve this myriad of current irresolvable human conditions.
These institutions have instilled within us the annihilating mechanism of value, relying on the failed irrationality of human supremacy. This silly dogma of homo economicus externalizes all that is non-human in this world-for-us. It's crystal clear that the interrelation of planetary life forms has been lost on what we call the contemporary. Reason: unknown. As stated in 2005 by Oren R. Lyons, Faithkeeper of the Turtle Clan of the Onondaga Nation, "What you call resources, we call our relatives". We will discuss together.
A.L. Steiner utilizes constructions of photography, video, installation, collage, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer ecofeminist androgyne. Steiner is co-curator of Ridykeulous, co-founder of Working Artists and the Greater Economy (W.A.G.E.), a collective member of Chicks on Speed, and collaborates with numerous writers, performers, designers, activists and artists. She is MFA Faculty in Visual Arts at Bard College, Yale University and School of the Art Institute of Chicago and is based in Los Angeles and New York.
Der Vortrag findet in englischer Sprache statt.
Samstag, 25. November 2017
Sophie von Hellermann: The Drama Continues
Vortrag
Sophie von Hellermann: The Drama Continues
Mittwoch, 29. November 2017, 19 Uhr, Aula
Sophie von Hellermann is known for her large scale canvases in pastel palettes, often presented in elaborate installations. The chosen title of her lecture The Drama Continues refers to the stories that her paintings tell, which often emerge out of the serial and narrative sequence of her installations. The lecture will thus be discussing possible problems of narrative figurative painting and qua examples shed light on the different ways of approaching these.
Sophie von Hellermann was born in 1975 in Munich. She received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include: Sophie von Hellermann at Office Baroque, Brussels (2017); After a Fashion– A Play with Fire at Vilma Gold, London (2015); Novel Ways at Greene Naftali, New York (2013); Elephant in the Room at Firstsite, Colchester (2013). She lives and works in London and Margate.
Der Vortrag findet in englischer Sprache statt.
Sophie von Hellermann: The Drama Continues
Mittwoch, 29. November 2017, 19 Uhr, Aula
Sophie von Hellermann is known for her large scale canvases in pastel palettes, often presented in elaborate installations. The chosen title of her lecture The Drama Continues refers to the stories that her paintings tell, which often emerge out of the serial and narrative sequence of her installations. The lecture will thus be discussing possible problems of narrative figurative painting and qua examples shed light on the different ways of approaching these.
Sophie von Hellermann was born in 1975 in Munich. She received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include: Sophie von Hellermann at Office Baroque, Brussels (2017); After a Fashion– A Play with Fire at Vilma Gold, London (2015); Novel Ways at Greene Naftali, New York (2013); Elephant in the Room at Firstsite, Colchester (2013). She lives and works in London and Margate.
Der Vortrag findet in englischer Sprache statt.
Sonntag, 19. November 2017
Heman Chong: Ifs, Ands, or Buts
Vortrag
Heman Chong: Ifs, Ands, or Buts
Dienstag, 5. Dezember, 19 Uhr, Aula
"This lecture begins with a work that I didn’t make (it was an accident) and ends with a performance involving sentences I didn’t write (other artists did). In between, I would like to discuss a number of things that has passed through my eyes, hands and mind that have become a substantial part of what most people consider a part of my work; novels, bookshops, libraries, trees, calendars, postcards, words, stories, situations, exhibitions, time, texts, magazines, conferences, memories, translations, rumours, relationships, resistance, speech, secrets, distributions, bridges. This discussion will take place via deconstructing 10-15 works that I have made since 2003."
Heman Chong is an artist whose work is located at the intersection between image, performance, situations and writing. He has recently produced a series of interconnected exhibitions located in Art Sonje Center (Never, A Dull Moment, Seoul, 2015), South London Gallery (An Arm, A Leg and Other Stories, London, 2015) and Rockbund Art Museum (Ifs, Ands, Or Buts, Shanghai, 2016). He is the co-director and founder (with Renée Staal) of ‘The Library of Unread Books’ which has been installed in NTU Center for Contemporary Art, Singapore, The Museum of Contemporary Art and Design (MCAD), Manila and is currently installed in Casco Projects, Utrecht. He is currently working on a novel ‘The Book of Drafts’ which will be published by Polyparenthesis in 2019.
Der Vortrag findet in englischer Sprache statt.
Heman Chong: Ifs, Ands, or Buts
Dienstag, 5. Dezember, 19 Uhr, Aula
"This lecture begins with a work that I didn’t make (it was an accident) and ends with a performance involving sentences I didn’t write (other artists did). In between, I would like to discuss a number of things that has passed through my eyes, hands and mind that have become a substantial part of what most people consider a part of my work; novels, bookshops, libraries, trees, calendars, postcards, words, stories, situations, exhibitions, time, texts, magazines, conferences, memories, translations, rumours, relationships, resistance, speech, secrets, distributions, bridges. This discussion will take place via deconstructing 10-15 works that I have made since 2003."
Heman Chong is an artist whose work is located at the intersection between image, performance, situations and writing. He has recently produced a series of interconnected exhibitions located in Art Sonje Center (Never, A Dull Moment, Seoul, 2015), South London Gallery (An Arm, A Leg and Other Stories, London, 2015) and Rockbund Art Museum (Ifs, Ands, Or Buts, Shanghai, 2016). He is the co-director and founder (with Renée Staal) of ‘The Library of Unread Books’ which has been installed in NTU Center for Contemporary Art, Singapore, The Museum of Contemporary Art and Design (MCAD), Manila and is currently installed in Casco Projects, Utrecht. He is currently working on a novel ‘The Book of Drafts’ which will be published by Polyparenthesis in 2019.
Der Vortrag findet in englischer Sprache statt.
Montag, 13. November 2017
Pablo Larios: Lording Limit
Vortrag
Pablo Larios: Lording Limit
Dienstag, 14. November, 19 Uhr, Aula
The Lords of Limit, training dark and light
And setting a tabu ‘twixt left and right,
– W. H. Auden, ‘The Watchers’ (1932)
Pablo Larios: Lording Limit
Dienstag, 14. November, 19 Uhr, Aula
The Lords of Limit, training dark and light
And setting a tabu ‘twixt left and right,
– W. H. Auden, ‘The Watchers’ (1932)
However we define its borders, art has become a place for doing and making things that aren’t always possible in other fields. Film, theatre, music, poetry, academic research and political activism have found their way into contemporary art. The field has reconfigured itself beyond narrow art historical canons and shed many of the values that underpin traditional hermeneutic and critical models.
What does this mean for criticism, teaching, curating and making art? Seen positively, multidisciplinarity is evidence of contemporary art’s capaciousness, inclusiveness and variety. Yet increasingly, contemporary art is derided as a site of disciplinary impingement, capitalist or neoliberal subsumption, cultural appropriation and even political transgression. What are art’s limits and who draws that line? In his talk, Larios will discuss recent encounters between contemporary art and poetry, tech and activism.
Pablo Larios is a writer and associate editor of frieze magazine based in Berlin.
What does this mean for criticism, teaching, curating and making art? Seen positively, multidisciplinarity is evidence of contemporary art’s capaciousness, inclusiveness and variety. Yet increasingly, contemporary art is derided as a site of disciplinary impingement, capitalist or neoliberal subsumption, cultural appropriation and even political transgression. What are art’s limits and who draws that line? In his talk, Larios will discuss recent encounters between contemporary art and poetry, tech and activism.
Pablo Larios is a writer and associate editor of frieze magazine based in Berlin.
Der Vortrag findet in englischer Sprache statt.
Freitag, 10. November 2017
Daniel Dewar & Grégory Gicquel
Vortrag
Daniel Dewar & Grégory Gicquel
Montag, 13. November, 19 Uhr, Aula
Daniel Dewar & Grégory Gicquel are working together since 1997. Within their oeuvre, which has emerged over the past few years, they deal with traditional, handcrafted techniques in addition to their interest in classical sculpture. The artists are always concerned with manufacturing processes originating in different crafts, but that have become less and less visible in the course of technical automation. Dewar and Gicquel taught themselves various skills that are considered traditional, but do not necessarily employ the original techniques of the craft in the artistic production of their various works. In lengthy and complex stages, over recent years they have produced works in clay, high-fired ceramics, carved stone, wood and woven or embroidered textile.
On the occasion of their recent exhibition at Portikus, Daniel Dewar & Grégory Gicquel will deliver a lecture at Städelschule. Rather than presenting work, the artists will talk about the production process of individual pieces and site specific commissions.
Der Vortrag findet in englischer Sprache statt.
Daniel Dewar & Grégory Gicquel
Montag, 13. November, 19 Uhr, Aula
Daniel Dewar & Grégory Gicquel are working together since 1997. Within their oeuvre, which has emerged over the past few years, they deal with traditional, handcrafted techniques in addition to their interest in classical sculpture. The artists are always concerned with manufacturing processes originating in different crafts, but that have become less and less visible in the course of technical automation. Dewar and Gicquel taught themselves various skills that are considered traditional, but do not necessarily employ the original techniques of the craft in the artistic production of their various works. In lengthy and complex stages, over recent years they have produced works in clay, high-fired ceramics, carved stone, wood and woven or embroidered textile.
On the occasion of their recent exhibition at Portikus, Daniel Dewar & Grégory Gicquel will deliver a lecture at Städelschule. Rather than presenting work, the artists will talk about the production process of individual pieces and site specific commissions.
Der Vortrag findet in englischer Sprache statt.
Freitag, 27. Oktober 2017
Thomas Meinecke: You Make Me Feel Mighty Real
Vortrag
Thomas Meinecke: You Make Me Feel Mighty Real
Mittwoch, 1. November, 19 Uhr, Aula
Thomas Meinecke: You Make Me Feel Mighty Real
Mittwoch, 1. November, 19 Uhr, Aula
This lecture is will discuss both performatively and lyrically the idea of gender performance in pop music. You Make Me Feel Mighty Real was a major hit by the flaming Disco Queen Sylvester (formerly Cockettes), especially gaining resonance in the gay community. It was a central slogan of the disco movement, before this was killed off by Rock 1979 at a sport stadium under the motto Disco Sucks. And REALNESS is, of course, a queer high camp construct, which is awarded to participants in VOGUING competitions.
Thomas Meinecke is a German author, pop artist, musician and DJ. From 1978 to 1986 he was a co-editor and editor of the avant-garde magazine Mode & Verzweiflung. In the eighties he wrote columns for ZEIT. From 1986, he published stories and numerous novels, most recently the novel Selbst (Suhrkamp, 2016). Meinecke is also a musician and lyricist in the band Freiwillige Selbstkontrolle (FSK) as well as releasing records under his own name. He is also radio DJ in the program Zündfunk Nachtmix (BR 2) and regularly works as a club DJ. Since 2008, Meinecke has also been running a series of concerts under the title "Plattenspieler" at the Berlin Theater Hebbel am Ufer (HAU).
Thomas Meinecke is a German author, pop artist, musician and DJ. From 1978 to 1986 he was a co-editor and editor of the avant-garde magazine Mode & Verzweiflung. In the eighties he wrote columns for ZEIT. From 1986, he published stories and numerous novels, most recently the novel Selbst (Suhrkamp, 2016). Meinecke is also a musician and lyricist in the band Freiwillige Selbstkontrolle (FSK) as well as releasing records under his own name. He is also radio DJ in the program Zündfunk Nachtmix (BR 2) and regularly works as a club DJ. Since 2008, Meinecke has also been running a series of concerts under the title "Plattenspieler" at the Berlin Theater Hebbel am Ufer (HAU).
Der Vortrag findet in englischer Sprache statt.
Bonaventure Ndikung: The Dog Done Gone Deaf
Vortrag
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula
This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.
It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.
The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.
Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.
Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.
He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.
Der Vortrag findet in englischer Sprache statt.
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula
This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.
It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.
The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.
Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.
Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.
He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 25. Oktober 2017
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Vortrag Curatorial Studies
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Elena Filipovic will be speaking on her recent book, The Apparently Marginal Activites of Marcel Duchamp. The book tells a new story of the twentieth century’s most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp’s art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework.
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 19. Oktober 2017
Keller Easterling: Medium Design
Vortrag
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Der Vortrag findet in englischer Sprache statt.
Montag, 9. Oktober 2017
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Kollektion
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Dauer: 10.10.-14.10.2017
DI–FR ca. 11h – 18h
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
Eintritt frei.
Montag, 14. August 2017
Portikus XXX Summer Screenings: Non-work
Filmvorführung
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 17. Juli 2017
Portikus XXX – 30 Jahre Portikus: Anne Speier
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Anne Speier
Portikus XXX – 30 Jahre Portikus: Anne Speier
Donnerstag, 20. Juli 2017, 17 Uhr, Hotel Fleming’s Selection, Eschenheimer Tor 2
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
Sonntag, 16. Juli 2017
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus is turning thirty. Founded as a small art space on Schöne Aussicht in 1987, we moved from there to the Leinwandhaus and then to the Maininsel. Portikus XXX is the name of our anniversary project that doesn’t look back, but simply keeps moving ahead, not inside Portikus itself, but in the city so important to us: Frankfurt am Main. We leave our space and, with small gestures and major interventions, present new works in urban places that shape the cityscape. In this way, Portikus XXX addresses a broad audience while, at the same time, we continue to do what we’ve been doing in recent years: making exhibitions that stimulate, expand perspectives and ask questions.
Over the course of the summer, Portikus will in collaboration with various internationally renowned artists intervene in the public space of Frankfurt am Main. The inaugurate opening is pleased to have worked with Shannon Bool in the Dom as well the fiction class led by Marc von Schlegell. Further openings are to be announced soon.
Double Opening, 18th of July
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Eintritt Frei.
Portikus XXX: Summer screenings
Filmvorführung
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
Wednesday the 19th of July will be the first of a series of screenings at Portikus.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 10. Juli 2017
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Vortrag
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Dienstag, 11. Juli 2017, 19 Uhr, Aula
Susanne Kriemann, born 1972 in Erlangen, Germany, is an artist living and working in Berlin. She is professor for artistic photography at University of Design in Karlsruhe and a long-term advisor at the Jan Van Eyck Academy in Maastricht (NL), where she continues her on-going exploration of research and artist practice. Together with Aleksander Komarov, she founded the artist initiative AIR Berlin Alexanderplatz (www.airberlinalexanderplatz.de). The works of Susanne Kriemann are represented by Galerie Wilfried Lentz, Rotterdam and Galerie RaebervonStenglin, Zürich (2009-2016). Kriemann also publishes artist books, that are testaments to her overarching concern with historiography—how history is written, read, and rewritten—and the connections that can be found between art, literature, and archaeology.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 28. Juni 2017
Stephan Dillemuth: Corporate Rokoko
Vortrag
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Corporate Rokoko is a concept that was coined in the last years of the 20th century by Werner von Delmont to describe an aesthetic representation program that induced hallucination into dominating and powerful corporations.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
New Noveta: Angst und Arbeit
Vortrag
New Noveta: Angst und Arbeit
Dienstag, 4. Juli 2017, 19 Uhr, Aula
New Noveta is the collaborative project of Ellen Freed and Keira Fox, both based in London.
They most recently performed as part of the performance program at Liste, Rehearsing Intra-Activity, curated by Eva Birkenstock. In February this year they had a solo show and performance 'Violent Amurg' at Ludlow38, New York, and performed and exhibited as part of the show Site Visit at Kunstverein Freiburg, Germany. Amongst other places, they performed at Serralves Foundation in Porto as part of the program O Museu Como Performance (2015), Good Forever in Düsseldorf (2016), the Annual Bipolar Performers Meeting in Sopot, Poland (2017), and at Forde in Geneva (2016).
This lecture will be an overview of their processes and projects so far, displaying and discussing works spanning New Noveta's six year collaboration.
"Emotionally intense as they are, the sense of invasiveness to New Noveta’s works in fact heightens the schism between performer and audience. But to consider the group confrontational would be to mischaracterize a project intent on reproaching attitudes that otherwise pathologize ‘difference as illness’. For Fox and Freed, these procedures of normalization and diagnosis are endemic within high-pressure society, and New Noveta seeks to confront how public displays of anxiety, both symptom and vessel of control, are often perceived negatively" Saim Demicran.
New Noveta: Angst und Arbeit
Dienstag, 4. Juli 2017, 19 Uhr, Aula
New Noveta is the collaborative project of Ellen Freed and Keira Fox, both based in London.
They most recently performed as part of the performance program at Liste, Rehearsing Intra-Activity, curated by Eva Birkenstock. In February this year they had a solo show and performance 'Violent Amurg' at Ludlow38, New York, and performed and exhibited as part of the show Site Visit at Kunstverein Freiburg, Germany. Amongst other places, they performed at Serralves Foundation in Porto as part of the program O Museu Como Performance (2015), Good Forever in Düsseldorf (2016), the Annual Bipolar Performers Meeting in Sopot, Poland (2017), and at Forde in Geneva (2016).
This lecture will be an overview of their processes and projects so far, displaying and discussing works spanning New Noveta's six year collaboration.
"Emotionally intense as they are, the sense of invasiveness to New Noveta’s works in fact heightens the schism between performer and audience. But to consider the group confrontational would be to mischaracterize a project intent on reproaching attitudes that otherwise pathologize ‘difference as illness’. For Fox and Freed, these procedures of normalization and diagnosis are endemic within high-pressure society, and New Noveta seeks to confront how public displays of anxiety, both symptom and vessel of control, are often perceived negatively" Saim Demicran.
Der Vortrag findet in englischer Sprache statt.
Montag, 26. Juni 2017
Josephine Pryde: We Do The Rest
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Josephine Pryde: We Do The Rest
Mittwoch, 28. Juni 2017, 19 Uhr, Aula
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?
A short talk on a time-based medium - Josephine Pryde will discuss her artwork in connection to skills she may have acquired, or otherwise, while using a camera.
Pryde was born in the United Kingdom, studied in London and was appointed Professor for 'Zeitgenössische Kunst und Fotografie' at the University of the Arts, Berlin, in 2008. Her most recent exhibition was 'Traces of Accessibility' in collaboration with Marilyn Thompson, in April 2017 at Goton, Paris. Since 2014, Pryde has exhibited two different miniature rideable trains, alongside photographs featuring hands, in various configurations, initially in the show 'These Are Just Things I Say, They Are Not My Opinions' at Arnolfini, Bristol in 2014, and then in 'lapses in Thinking By the person i Am' at CCA Wattis, San Francisco and ICA Philadelphia in 2015. Her catalogue 'The Enjoyment of Photography' also appeared in 2015.
Der Vortrag findet in englischer Sprache statt.
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Josephine Pryde: We Do The Rest
Mittwoch, 28. Juni 2017, 19 Uhr, Aula
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?
A short talk on a time-based medium - Josephine Pryde will discuss her artwork in connection to skills she may have acquired, or otherwise, while using a camera.
Pryde was born in the United Kingdom, studied in London and was appointed Professor for 'Zeitgenössische Kunst und Fotografie' at the University of the Arts, Berlin, in 2008. Her most recent exhibition was 'Traces of Accessibility' in collaboration with Marilyn Thompson, in April 2017 at Goton, Paris. Since 2014, Pryde has exhibited two different miniature rideable trains, alongside photographs featuring hands, in various configurations, initially in the show 'These Are Just Things I Say, They Are Not My Opinions' at Arnolfini, Bristol in 2014, and then in 'lapses in Thinking By the person i Am' at CCA Wattis, San Francisco and ICA Philadelphia in 2015. Her catalogue 'The Enjoyment of Photography' also appeared in 2015.
Der Vortrag findet in englischer Sprache statt.
Alex Kitnick: Normal Art
Vortrag
Alex Kitnick: Normal Art
Mittwoch, 5. Juli 2017, 19 Uhr, Aula
In the last few years we have heard a lot about “new normals” (often raised in regards to weather), normativities (typically used in regards to sexuality), and normalization (invoked most often in the sphere of politics). All of these terms are bound to a language of imposition, the setting of new standards to which we are asked to habituate ourselves, but the terms also have different valences and histories, which are worth pulling apart….
This talk will trace a history for the idea of normal art. Starting with Lucy Lippard’s 1968 declaration that conceptual art was part of a “trend back to ‘normalcy,’” the talk will consider the potential of conventional modes of practice for artistic production, especially in relation to theories that have depicted significant art as “cutting edge” and “avant-garde.” But in focusing on conceptualism, which posed a direct threat to many traditional ideas of the art object and its value, we will also see that the normal often resides in the places we least expect. The work of the Canadian collective General Idea (1969-1994) will serve as a case study for how a normal art might function in relation to wider cultural and political tendencies.
Alex Kitnick is Brant Foundation Fellow in Contemporary Arts at Bard College. He has contributed to publications including Artforum, May, October, and Texte zur Kunst.
Der Vortrag findet in englischer Sprache statt.
Alex Kitnick: Normal Art
Mittwoch, 5. Juli 2017, 19 Uhr, Aula
In the last few years we have heard a lot about “new normals” (often raised in regards to weather), normativities (typically used in regards to sexuality), and normalization (invoked most often in the sphere of politics). All of these terms are bound to a language of imposition, the setting of new standards to which we are asked to habituate ourselves, but the terms also have different valences and histories, which are worth pulling apart….
This talk will trace a history for the idea of normal art. Starting with Lucy Lippard’s 1968 declaration that conceptual art was part of a “trend back to ‘normalcy,’” the talk will consider the potential of conventional modes of practice for artistic production, especially in relation to theories that have depicted significant art as “cutting edge” and “avant-garde.” But in focusing on conceptualism, which posed a direct threat to many traditional ideas of the art object and its value, we will also see that the normal often resides in the places we least expect. The work of the Canadian collective General Idea (1969-1994) will serve as a case study for how a normal art might function in relation to wider cultural and political tendencies.
Alex Kitnick is Brant Foundation Fellow in Contemporary Arts at Bard College. He has contributed to publications including Artforum, May, October, and Texte zur Kunst.
Der Vortrag findet in englischer Sprache statt.
Liam Young: Hello, City!
Vortrag Architektur Klasse
Liam Young: Hello, City
Freitag, 30 Juni 2017, 19 Uhr, Aula
Digital technologies are radically reshaping our perception and occupation of cities. Join speculative architect Liam Young and an all-seeing smart city operating system as they take a tour in a driverless taxi through a network of software systems, autonomous infrastructures, ghost architectures, anomalies, glitches, and sprites, searching for the wilds beyond the machine.
The talk will be an audio-visual expedition to a city found somewhere between the present and the predicted, the real and the imagined, stitched together from fragments of real landscapes and designed urban fictions.
Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today, an urban futures think tank, exploring the local and global implications of new technologies and Unknown Fields, a nomadic research studio that travels on expeditions to chronicle these emerging conditions as they occur on the ground. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is producer of a BAFTA nominated film and his work has been collected by institutions such as the Metropolitan Museum of Art and the Victoria and Albert Museum. He has taught internationally at the Architectural Association, Princeton University and now runs an MA in Fiction and Entertainment at SciArc. Liam's narrative approach sits between documentary and fiction as he focuses on projects that aim to reveal the invisible connections and systems that make the modern world work.
Liam Young is also going to be part of a conversation on VIRTUAL REALITY – SUBJECT, IMAGE, SPACE hosted by SAC at the NODE17 festival on July 1, 2017 from 11:30 - 17:30.
The conversation will address the role of VR for artistic and architectural practice and Liam Young will contribute to the discussion based on his ground-breaking experimentation with new technologies as cinematic tools for a narrative approach to architecture.
For more information: nodeforum.org
Liam Young: Hello, City
Freitag, 30 Juni 2017, 19 Uhr, Aula
The talk will be an audio-visual expedition to a city found somewhere between the present and the predicted, the real and the imagined, stitched together from fragments of real landscapes and designed urban fictions.
Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today, an urban futures think tank, exploring the local and global implications of new technologies and Unknown Fields, a nomadic research studio that travels on expeditions to chronicle these emerging conditions as they occur on the ground. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is producer of a BAFTA nominated film and his work has been collected by institutions such as the Metropolitan Museum of Art and the Victoria and Albert Museum. He has taught internationally at the Architectural Association, Princeton University and now runs an MA in Fiction and Entertainment at SciArc. Liam's narrative approach sits between documentary and fiction as he focuses on projects that aim to reveal the invisible connections and systems that make the modern world work.
Liam Young is also going to be part of a conversation on VIRTUAL REALITY – SUBJECT, IMAGE, SPACE hosted by SAC at the NODE17 festival on July 1, 2017 from 11:30 - 17:30.
The conversation will address the role of VR for artistic and architectural practice and Liam Young will contribute to the discussion based on his ground-breaking experimentation with new technologies as cinematic tools for a narrative approach to architecture.
For more information: nodeforum.org
Der Vortrag findet in englischer Sprache statt.
Sonntag, 25. Juni 2017
Farshid Moussavi: Working With Time
Architektur Klasse - Dean’s Honorary Lecture
Farshid Moussavi: Working With Time
The Rektor of Städelschule, Professor Philippe Pirotte, and the Städelschule Architecture Class are proud to announce this year’s Dean’s Honorary Lecturer: Farshid Moussavi.
Farshid Moussavi RA is an architect, principal of Farshid Moussavi Architecture (FMA) and Professor in Practice of Architecture at Harvard University Graduate School of Design. At FMA, Moussavi has completed her first USA commission, the Museum of Contemporary Art in Cleveland, the flagship store for Victoria Beckham in London, and an installation at the 13th Architecture Biennale in Venice (2012). Moussavi is currently working on a wide range of prestigious projects including a residential complex in the La Défense district of Paris (under construction), a residential complex in Montpellier, as well as an office complex in the City of London.
Moussavi was previously co-founder of the London-based Foreign Office Architects (FOA), where she co-authored many award-winning projects including the Yokohama International Cruise Terminal and the Spanish Pavilion at the Aichi International Expo in Japan. FOA was also part of the team that designed the Olympic Park and its legacy vision for the Lee Valley as part of the London bid to the International Design Committee.
Educated at Harvard’s Graduate School of Design, University College London and Dundee University, Moussavi has taught and served as External Examiner in academic institutions worldwide. She was a member of the Steering Committee of the Aga Khan Award for Architecture between 2004 and 2015 and has been a trustee of the London Architecture Foundation and the Whitechapel Gallery in London since 2009. She was elected a Royal Academician in 2015 and has published three books, The Function of Ornament, The Function of Forms, and the Function of Style, based on her research and teaching at Harvard.
The Dean’s Honorary Lecture was introduced in 2006 as a celebration of architecture at the Städelschule Architecture Class’ annual end of year review of student work. The series seeks to honour a person whose contribution to the architectural discipline has been seminal in professional, academic and/or institutional terms. Since its introduction, the annual lecture has been given by: Mark Wigley (2006), Mohsen Mostafavi (2007), Greg Lynn (2008), Brett Steele (2009), Jeffrey Kipnis (2010), Sanford Kwinter (2011), Alejandro Zaera-Polo (2012), Beatriz Colomina (2013), Elizabeth Diller (2014), Benedetta Tagliabue (2015), and Bernard Tschumi (2016).
This year, the Dean’s Honorary Lecture is part of the celebration of the Städelschule’s 200-year jubilee: http://www.staedelschule.de/programm.html
Der Vortrag findet in englischer Sprache statt.
**The Dean’s Honorary Lecture by Sir Peter Cook is unfortunately cancelled. Instead, Farshid Moussavi will give this year’s honorary lecture.**
**Leider fällt der Vortrag in der Reihe Dean’s Honorary Lecture von Sir Peter Cook aus. Stattdessen wird Farshid Moussavi den Ehrenvortrag halten.**
Farshid Moussavi: Working With Time
Donnerstag, 13. Juli 2017, 19 Uhr, Aula
Farshid Moussavi RA is an architect, principal of Farshid Moussavi Architecture (FMA) and Professor in Practice of Architecture at Harvard University Graduate School of Design. At FMA, Moussavi has completed her first USA commission, the Museum of Contemporary Art in Cleveland, the flagship store for Victoria Beckham in London, and an installation at the 13th Architecture Biennale in Venice (2012). Moussavi is currently working on a wide range of prestigious projects including a residential complex in the La Défense district of Paris (under construction), a residential complex in Montpellier, as well as an office complex in the City of London.
Moussavi was previously co-founder of the London-based Foreign Office Architects (FOA), where she co-authored many award-winning projects including the Yokohama International Cruise Terminal and the Spanish Pavilion at the Aichi International Expo in Japan. FOA was also part of the team that designed the Olympic Park and its legacy vision for the Lee Valley as part of the London bid to the International Design Committee.
Educated at Harvard’s Graduate School of Design, University College London and Dundee University, Moussavi has taught and served as External Examiner in academic institutions worldwide. She was a member of the Steering Committee of the Aga Khan Award for Architecture between 2004 and 2015 and has been a trustee of the London Architecture Foundation and the Whitechapel Gallery in London since 2009. She was elected a Royal Academician in 2015 and has published three books, The Function of Ornament, The Function of Forms, and the Function of Style, based on her research and teaching at Harvard.
The Dean’s Honorary Lecture was introduced in 2006 as a celebration of architecture at the Städelschule Architecture Class’ annual end of year review of student work. The series seeks to honour a person whose contribution to the architectural discipline has been seminal in professional, academic and/or institutional terms. Since its introduction, the annual lecture has been given by: Mark Wigley (2006), Mohsen Mostafavi (2007), Greg Lynn (2008), Brett Steele (2009), Jeffrey Kipnis (2010), Sanford Kwinter (2011), Alejandro Zaera-Polo (2012), Beatriz Colomina (2013), Elizabeth Diller (2014), Benedetta Tagliabue (2015), and Bernard Tschumi (2016).
This year, the Dean’s Honorary Lecture is part of the celebration of the Städelschule’s 200-year jubilee: http://www.staedelschule.de/programm.html
Der Vortrag findet in englischer Sprache statt.
**The Dean’s Honorary Lecture by Sir Peter Cook is unfortunately cancelled. Instead, Farshid Moussavi will give this year’s honorary lecture.**
**Leider fällt der Vortrag in der Reihe Dean’s Honorary Lecture von Sir Peter Cook aus. Stattdessen wird Farshid Moussavi den Ehrenvortrag halten.**
Sonntag, 18. Juni 2017
Daniel Birnbaum
Vortrag
Daniel Birnbaum: Too Early, Too Late: Freud, Duchamp, af Klint
Dienstag, 20. Juni 2017, 19 Uhr, Aula
Late Arrivals. A certain kind of delay seems to be part of Hilma af Klint’s art, something she planned meticulously. She limited her exchange to a tight group of clairvoyants hiding in a studio far up in northern Europe and wrote a testament that produced further deferments. In other words, her version abstraction had no public exchange. Her art if one of late arrivals.
Compare this to another master of delays: it has been argued that we can properly understand the ‘Duchamp effect’ only in terms of the temporality of trauma. Avant-garde art, and not only that of Duchamp – the creator of a legendary ’delay in glass’ – was never historically effective or fully significant in its initial incarnation, because it constituted a traumatic break with the past and, as trauma, can be comprehended only through repetition and delay. Freud described this temporal phenomenon as “deferred action.” The traumatic event is never perceived as present, as something happening right now, but registered only after the fact, according to a rule of necessary delay.
We all know that the temporality of art isn’t linear but characterized by precisely these sorts of repetitions and syncopations, detours, and delays. Sometimes they real revolutions in art remain invisible until they are long over, and the subterranean shock waves can travel for generations.
Daniel Birnbaum is the director of Moderna Museet, Stockholm and Professor of Philosophy at the Städelschule which he was directing from 2000–2010.
Der Vortrag findet in englischer Sprache statt.
Daniel Birnbaum: Too Early, Too Late: Freud, Duchamp, af Klint
Dienstag, 20. Juni 2017, 19 Uhr, Aula
Late Arrivals. A certain kind of delay seems to be part of Hilma af Klint’s art, something she planned meticulously. She limited her exchange to a tight group of clairvoyants hiding in a studio far up in northern Europe and wrote a testament that produced further deferments. In other words, her version abstraction had no public exchange. Her art if one of late arrivals.
Compare this to another master of delays: it has been argued that we can properly understand the ‘Duchamp effect’ only in terms of the temporality of trauma. Avant-garde art, and not only that of Duchamp – the creator of a legendary ’delay in glass’ – was never historically effective or fully significant in its initial incarnation, because it constituted a traumatic break with the past and, as trauma, can be comprehended only through repetition and delay. Freud described this temporal phenomenon as “deferred action.” The traumatic event is never perceived as present, as something happening right now, but registered only after the fact, according to a rule of necessary delay.
We all know that the temporality of art isn’t linear but characterized by precisely these sorts of repetitions and syncopations, detours, and delays. Sometimes they real revolutions in art remain invisible until they are long over, and the subterranean shock waves can travel for generations.
Daniel Birnbaum is the director of Moderna Museet, Stockholm and Professor of Philosophy at the Städelschule which he was directing from 2000–2010.
Der Vortrag findet in englischer Sprache statt.
Michael Dean
Vortrag
Michael Dean
Donnerstag, 22. Juni 2017, 19 Uhr, Aula
Ausstellungseröffnung
Michael Dean: Teaxths and Angeruage
Freitag, 30. Juni 2017, 19h, Portikus
Alongside his work in sculpture, a core element of Michael Dean’s production is his work in text. Each of the British artist’s sculptures evolve from intimate and observational texts that accompany and typographically envelop the sculpture and regularly assume a live dimension. Thick books of writings are found among the sculptures in his exhibitions, their texts partly representing the starting point of his work and partly inviting interrogation of the sculpture within something of a vocabularic, suggestive mechanism or framework.
In his lecture at Städelschule Michael Dean will talk about his work as well as his latest installation as part of Skulptur Projekte Münster and his upcoming exhibition at Portikus, titled Teaxths and Angeruage.
Der Vortrag findet in englischer Sprache statt.
Michael Dean
Donnerstag, 22. Juni 2017, 19 Uhr, Aula
Ausstellungseröffnung
Michael Dean: Teaxths and Angeruage
Freitag, 30. Juni 2017, 19h, Portikus
Alongside his work in sculpture, a core element of Michael Dean’s production is his work in text. Each of the British artist’s sculptures evolve from intimate and observational texts that accompany and typographically envelop the sculpture and regularly assume a live dimension. Thick books of writings are found among the sculptures in his exhibitions, their texts partly representing the starting point of his work and partly inviting interrogation of the sculpture within something of a vocabularic, suggestive mechanism or framework.
In his lecture at Städelschule Michael Dean will talk about his work as well as his latest installation as part of Skulptur Projekte Münster and his upcoming exhibition at Portikus, titled Teaxths and Angeruage.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 13. Juni 2017
Laurence Rickels: All You Vampires
Vortrag
Laurence Rickels: All You Vampires
Mittwoch, 21. Juni 2017, 19 Uhr, Aula
The contest at the start of the new millennium between identification with the undead and thrill-a-kill consumerism of the living dead separates out the science fiction of a vampirism epidemic in Richard Matheson’s I Am Legend. The application of science fiction in the US reception of modern vampirism, which was largely introduced through Browning’s Dracula, contributed to the rise of the modern movie zombie out of the massification of undeath. Along the track of sole survival, the last human and the vampire are conjoined in mourning.
Gotthard Günther pursued a metaphysics of science fiction according to which the new world was the staging area, in preparation since the age of discovery, for a civilization that would be planetary going on interplanetary. According to Günther, both the zombie and, interchangeably, the mechanical brain signal a new American way of death that cuts loose from the metaphysics of the regional civilizations (last seen in Europe). In rehearsal since Hamlet the intergalactic civilization to come must carry forward to the final frontier of living death mourning’s secular import, which counts down between first and second deaths.
Laurence Rickels: All You Vampires
Mittwoch, 21. Juni 2017, 19 Uhr, Aula
The contest at the start of the new millennium between identification with the undead and thrill-a-kill consumerism of the living dead separates out the science fiction of a vampirism epidemic in Richard Matheson’s I Am Legend. The application of science fiction in the US reception of modern vampirism, which was largely introduced through Browning’s Dracula, contributed to the rise of the modern movie zombie out of the massification of undeath. Along the track of sole survival, the last human and the vampire are conjoined in mourning.
Gotthard Günther pursued a metaphysics of science fiction according to which the new world was the staging area, in preparation since the age of discovery, for a civilization that would be planetary going on interplanetary. According to Günther, both the zombie and, interchangeably, the mechanical brain signal a new American way of death that cuts loose from the metaphysics of the regional civilizations (last seen in Europe). In rehearsal since Hamlet the intergalactic civilization to come must carry forward to the final frontier of living death mourning’s secular import, which counts down between first and second deaths.
Laurence Arthur Rickels (b. 1954) is a psychotherapist, theorist, and literary scholar, who taught at the University of California, Santa Barbara (German and Comparative Literature) for thirty years. He is the Sigmund Freud professor of philosophy and media at The European Graduate School / EGS and emeritus professor not only at the University of California but also at the Staatliche Akademie der Bildenden Künste Karlsruhe, where he served six years as professor of Kunst und Theorie (Klaus Theweleits successor). Recently he was appointed as the Eberhard Berent Visiting Professor and Distinguished Writer in Residence at New York University for the spring 2018 semester.
Der Vortrag findet in englischer Sprache statt.
Der Vortrag findet in englischer Sprache statt.
Montag, 12. Juni 2017
Johan Bettum: Grammar of the Ineffable. The Subject
Vortrag Architektur Klasse
Johan Bettum: Grammar of the Ineffable. The Subject
Mittwoch, 14. Juni 2017, 19 Uhr, Aula
The history of architecture appears largely as the history of form: Decorated and non-decorated form, the form of decoration itself, tectonic form - to mention just some of its historical variants. And of recently there has emerged a renewed interest in architectural form predicated by a philosophical enquiry into the status of the object. In extension of so-called “object oriented ontology” or “speculative realism,” architecture entertains an interest in “weird” realism and “strange” objects, which soon also includes “strange” forms.
However, any version of architectural form is only one part of the story; its assumed converse, space, being the other. While contemplating or entering architectural form, we occupy space. Yet, its nature remains as evasive as it was when our contemporary notion of space first emerged in architectural theory at the end of the nineteenth century.
This lecture traces our architectural notion of space back to this origin, in the process contextualising it relative to the problem of form and - indirectly - formalism in architectural design. It positions our idea of space in a copious context, so fully saturated with information and matter that the design space, the space in which we work, is full to overflowing with input, opportunities but also responsibilities. This saturated space is at once both a material and immaterial phenomenon.
The lecture pursues - perhaps in vain - a hidden structure underlying our experience of spatial constructs. It does so by briefly discussing three art works and a few architectural projects to suggest that architecture may be understood in a choreographic sense. That is, by spatially situating a double subject - that is, the architect designer as well as the experiencing subject - relative to architectural form, architecture emerges as, to paraphrase the dancer and choreographer William Forsythe, ‘a choreographic object.’ In consequence, aiming to loosely define a spatial paradigm based on the notion of choreography in saturated space, the subject appears compelled to move and be moved in space, as if caught in a dense meshwork of information and matter, of input and output.
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class.
Johan Bettum: Grammar of the Ineffable. The Subject
Mittwoch, 14. Juni 2017, 19 Uhr, Aula
The history of architecture appears largely as the history of form: Decorated and non-decorated form, the form of decoration itself, tectonic form - to mention just some of its historical variants. And of recently there has emerged a renewed interest in architectural form predicated by a philosophical enquiry into the status of the object. In extension of so-called “object oriented ontology” or “speculative realism,” architecture entertains an interest in “weird” realism and “strange” objects, which soon also includes “strange” forms.
However, any version of architectural form is only one part of the story; its assumed converse, space, being the other. While contemplating or entering architectural form, we occupy space. Yet, its nature remains as evasive as it was when our contemporary notion of space first emerged in architectural theory at the end of the nineteenth century.
This lecture traces our architectural notion of space back to this origin, in the process contextualising it relative to the problem of form and - indirectly - formalism in architectural design. It positions our idea of space in a copious context, so fully saturated with information and matter that the design space, the space in which we work, is full to overflowing with input, opportunities but also responsibilities. This saturated space is at once both a material and immaterial phenomenon.
The lecture pursues - perhaps in vain - a hidden structure underlying our experience of spatial constructs. It does so by briefly discussing three art works and a few architectural projects to suggest that architecture may be understood in a choreographic sense. That is, by spatially situating a double subject - that is, the architect designer as well as the experiencing subject - relative to architectural form, architecture emerges as, to paraphrase the dancer and choreographer William Forsythe, ‘a choreographic object.’ In consequence, aiming to loosely define a spatial paradigm based on the notion of choreography in saturated space, the subject appears compelled to move and be moved in space, as if caught in a dense meshwork of information and matter, of input and output.
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class.
Vortrag findet in englischer Sprache
Donnerstag, 8. Juni 2017
Albert Oehlen: Dr Ö and the three million ???
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Albert Oehlen: Dr Ö and the three million ???
Montag, 12. Juni 2017, 19 Uhr, Aula
The lecture takes place within the frame work of the lectures-series, which is conceptualized by Isabelle Graw and 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
Albert Oehlen: Dr Ö and the three million ???
Montag, 12. Juni 2017, 19 Uhr, Aula
The lecture takes place within the frame work of the lectures-series, which is conceptualized by Isabelle Graw and 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.
Sonntag, 28. Mai 2017
Michael Young: Close Attention
Vortrag Architektur Klasse
Michael Young: Close Attention
Donnerstag, 2. Juni 2017, 19 Uhr, Aula
One of the responsibilities of the discipline of architecture concerns the aesthetics of the background of reality. Architecture designs the objects and atmospheres that we typically engaged habitually in a state of distraction. This background of the everyday is typically what an architecture of novelty seeks to destroy through the introduction of a strong formal difference between the new and old. But, what if the more political position was to estrange the background. Such a project would require a different aesthetic focus, less attuned to a "close reading" than to thresholds of interest that spark "close attention".
In this lecture, historical examples in art, architecture, and cinema will be discussed in relation to the recent work of his architectural practice.
Michael Young is an architect and educator practicing in New York City where he is a founding partner of the architectural design studio Young & Ayata. Young & Ayata were awarded a Design Vanguard Award from Architectural Record for 2016. In 2015 they received a first place prize to design the new Bauhaus Museum in Dessau, Germany. In 2014 they received the Young Architects Prize from the Architectural League of New York, and were finalists for the MoMA Young Architects Program at the Istanbul Modern.
Michael is currently an Assistant Professor at the Cooper Union. In the Fall of 2016 he was the Louis I. Kahn Visiting Assistant Professor at Yale University. He has previously taught design studios and seminars at Princeton, SCI-Arc, Yale, Columbia, Syracuse, Pratt, Cornell and Innsbruck University. His work has been exhibited recently in New York, Los Angeles, Rotterdam, Istanbul, Milan, Chicago, Barcelona, and Princeton. Michael received his Master's Degree from Princeton University and a Bachelor of Architecture from Cal Poly San Luis Obispo.
Vortrag findet in englischer Sprache statt.
Michael Young: Close Attention
Donnerstag, 2. Juni 2017, 19 Uhr, Aula
One of the responsibilities of the discipline of architecture concerns the aesthetics of the background of reality. Architecture designs the objects and atmospheres that we typically engaged habitually in a state of distraction. This background of the everyday is typically what an architecture of novelty seeks to destroy through the introduction of a strong formal difference between the new and old. But, what if the more political position was to estrange the background. Such a project would require a different aesthetic focus, less attuned to a "close reading" than to thresholds of interest that spark "close attention".
In this lecture, historical examples in art, architecture, and cinema will be discussed in relation to the recent work of his architectural practice.
Michael Young is an architect and educator practicing in New York City where he is a founding partner of the architectural design studio Young & Ayata. Young & Ayata were awarded a Design Vanguard Award from Architectural Record for 2016. In 2015 they received a first place prize to design the new Bauhaus Museum in Dessau, Germany. In 2014 they received the Young Architects Prize from the Architectural League of New York, and were finalists for the MoMA Young Architects Program at the Istanbul Modern.
Michael is currently an Assistant Professor at the Cooper Union. In the Fall of 2016 he was the Louis I. Kahn Visiting Assistant Professor at Yale University. He has previously taught design studios and seminars at Princeton, SCI-Arc, Yale, Columbia, Syracuse, Pratt, Cornell and Innsbruck University. His work has been exhibited recently in New York, Los Angeles, Rotterdam, Istanbul, Milan, Chicago, Barcelona, and Princeton. Michael received his Master's Degree from Princeton University and a Bachelor of Architecture from Cal Poly San Luis Obispo.
Vortrag findet in englischer Sprache statt.
Mittwoch, 24. Mai 2017
Cristina Díaz Moreno & Efrén Gª Grinda: Macronic
Vortrag Architektur Klasse
Cristina Díaz Moreno & Efrén Gª Grinda: Macronic
Freitag, 26. Mai 2017, 19 Uhr, Aula
The lecture will verse about the articulation of new architectural vocabularies and formations coherent with the actual technological, social and cultural scenarios and a visit to AMID.cero9 recent projects. In this unprecedented global context, where every type of cultural material triggers a wild multiplicity of connections with other materials, things and situations, from people to machines to insignificant, abstract entities, the overall congruence, origin, connotations and meanings of these connections are no longer relevant to the way these materials are connected and what counts now is the universal instant access to this infinite ocean of information. The lecture will revisit the historical concepts of Third Natures and Macaronic Heteroglossia as renewed concepts capable to condense amid.cero9 recent proposals based in a both critical and optimist disciplinary attitude
amid.cero9 cultivates an afterpop approach to the contemporary notion of space that enlists sociology, technology, media, politics and representation in projects ranging from architecture (Cherry Blossom Pavilion in Jerte Valley, Spain, shown at the 12th Biennale di Venezia, Giner de los Ríos Foundation in Madrid, Diagonal80 Industrial Pavillion in Madrid) to design (ESA Pavillion), ecosystemic studies (The Magic Mountain in Ames, We as a plague in Rome, TRP in Venice) and hybrid urban projects (Aijalaranta in Jyväskylä, or Hhouse in Balearic Islands).
Cristina Díaz Moreno & Efren Gª Grinda are both architects and founders of amid.cero9. They are Guest Professors at SAC Städelschule Architectural Class, since 2016, Directors of an Option Studio at the GSD, Harvard University (2015-) and Diploma Unit Masters at the A.A. School, London (2009-). Previously they taught at the Institut für Kunst und Architektur Akademie der Bildenden Künste in Vienna. While teaching together in Madrid from 1998 till 2013 (in parallel at ETSAM and ESAYA UEM) they have been visiting professors and lecturers throughout Europe, Asia and the US. Their projects have been widely disseminated and they have won more than 40 prizes in national and international competitions. Their projects and writings of the last fifteen years were documented in 2014 in a publication entitled “Third Natures, a Micropedia” and an exhibition at the AA, London.
Freitag, 26. Mai 2017, 19 Uhr, Aula
The lecture will verse about the articulation of new architectural vocabularies and formations coherent with the actual technological, social and cultural scenarios and a visit to AMID.cero9 recent projects. In this unprecedented global context, where every type of cultural material triggers a wild multiplicity of connections with other materials, things and situations, from people to machines to insignificant, abstract entities, the overall congruence, origin, connotations and meanings of these connections are no longer relevant to the way these materials are connected and what counts now is the universal instant access to this infinite ocean of information. The lecture will revisit the historical concepts of Third Natures and Macaronic Heteroglossia as renewed concepts capable to condense amid.cero9 recent proposals based in a both critical and optimist disciplinary attitude
amid.cero9 cultivates an afterpop approach to the contemporary notion of space that enlists sociology, technology, media, politics and representation in projects ranging from architecture (Cherry Blossom Pavilion in Jerte Valley, Spain, shown at the 12th Biennale di Venezia, Giner de los Ríos Foundation in Madrid, Diagonal80 Industrial Pavillion in Madrid) to design (ESA Pavillion), ecosystemic studies (The Magic Mountain in Ames, We as a plague in Rome, TRP in Venice) and hybrid urban projects (Aijalaranta in Jyväskylä, or Hhouse in Balearic Islands).
Cristina Díaz Moreno & Efren Gª Grinda are both architects and founders of amid.cero9. They are Guest Professors at SAC Städelschule Architectural Class, since 2016, Directors of an Option Studio at the GSD, Harvard University (2015-) and Diploma Unit Masters at the A.A. School, London (2009-). Previously they taught at the Institut für Kunst und Architektur Akademie der Bildenden Künste in Vienna. While teaching together in Madrid from 1998 till 2013 (in parallel at ETSAM and ESAYA UEM) they have been visiting professors and lecturers throughout Europe, Asia and the US. Their projects have been widely disseminated and they have won more than 40 prizes in national and international competitions. Their projects and writings of the last fifteen years were documented in 2014 in a publication entitled “Third Natures, a Micropedia” and an exhibition at the AA, London.
Recent projects include Golden Balloon for MOT Tokyo, Palm Pavillion for Sharjah, United Emirates and Giner de los Ríos Foundation, the famous Institucion Libre de Enseñanza, Madrid.
Recently a monographic issue about their works have been published in El Croquis nº184.
Der Vortrag findet in englischer Sprache statt.
Recently a monographic issue about their works have been published in El Croquis nº184.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 23. Mai 2017
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Vortrag Curatorial Studies
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Mittwoch, 31. Mai 2017, 18 Uhr, Campus Westend, IG-Farben-Haus, IG 411
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Mittwoch, 31. Mai 2017, 18 Uhr, Campus Westend, IG-Farben-Haus, IG 411
Konservierung gehört zu den Aufgaben der meisten Museen und schließt allmählich die Geschichte und Substanz der Museen selbst mit ein, ihre Präsentation der Sammlungen und ihre Architektur. Daraus resultiert eine Spannung zwischen der Anpassung an sich stets verändernden Umständen und Erwartungen einerseits, Kontinuität und Selbstreflexivität andererseits. Vieles kann in diesem Kontext aus der Betrachtung von Künstler- und Sammlermuseen gewonnen werden, die sich ein unverändertes Weiterleben als Ziel geben und die Erinnerung an ihre Gründer, die Erhaltung von Kunst und Kultur erfinderisch und manchmal humorvoll pflegen.
Dario Gamboni is professor of art history at the Université de Genève. He is a honorary member of the Institut Universitaire de France, Meret Oppenheim Prize 2006, and was a Fellow at CASVA, the Henry Moore Institute, and the Clark Art Institute. He has been a guest professor at the universities of Buenos Aires, Freiburg, Frankfurt, Mexico, New Delhi (JNU), Sao Paulo, Strasbourg and Tokyo, and at the École Normale Supérieure in Paris. He has curated and co-curated exhibitions, among which Iconoclash and Making Things Public in Karlsruhe (ZKM) and Une image peut en cacher une autre in Paris (Grand Palais). His publications include The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven/London 1997), Potential Images: Ambiguity and Indeterminacy in Modern Art (London 2002), The Brush and The Pen: Odilon Redon and Literature (Chicago/London 2011), and Paul Gauguin: The “Mysterious Centre of Thought” (French edn Dijon 2013, English edn London 2014).
Der Vortrag findet in deutscher Sprache statt
Dario Gamboni is professor of art history at the Université de Genève. He is a honorary member of the Institut Universitaire de France, Meret Oppenheim Prize 2006, and was a Fellow at CASVA, the Henry Moore Institute, and the Clark Art Institute. He has been a guest professor at the universities of Buenos Aires, Freiburg, Frankfurt, Mexico, New Delhi (JNU), Sao Paulo, Strasbourg and Tokyo, and at the École Normale Supérieure in Paris. He has curated and co-curated exhibitions, among which Iconoclash and Making Things Public in Karlsruhe (ZKM) and Une image peut en cacher une autre in Paris (Grand Palais). His publications include The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven/London 1997), Potential Images: Ambiguity and Indeterminacy in Modern Art (London 2002), The Brush and The Pen: Odilon Redon and Literature (Chicago/London 2011), and Paul Gauguin: The “Mysterious Centre of Thought” (French edn Dijon 2013, English edn London 2014).
Der Vortrag findet in deutscher Sprache statt
Sonntag, 14. Mai 2017
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Vortrag Architektur Klasse
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Freitag, 19. Mai 2017, 19 Uhr, Aula
The Duck and the Document: True Stories of Postmodern Procedures will present an exhibition currently on view in Los Angeles that features a series of fragments, from handrails to façade panels, salvaged from canonic buildings of the late 20th century.
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Freitag, 19. Mai 2017, 19 Uhr, Aula
The Duck and the Document: True Stories of Postmodern Procedures will present an exhibition currently on view in Los Angeles that features a series of fragments, from handrails to façade panels, salvaged from canonic buildings of the late 20th century.
Typically associated with drawing and the circulation of media images, postmodern architecture is generally understood to have been largely a matter of style and surface ornament, freed from the exigencies of political and technical systems by the force of architectural autonomy. The Duck and the Document challenges this view by embedding the expected imagery of postmodernity within materials that demonstrate the dense tangle of regulations, production specifications and technologies that constrained architectural design rather than liberated it. While these True Stories of Postmodern Procedures describe a less heroic and autonomous architect, they also produce a more persuasive account of architectural ingenuity as it sought to survive the bureaucratization not merely of the architectural profession but of the very idea of architecture. Featuring artifacts from the buildings and archives of Peter Eisenman, Deborah Sussman, Charles Moore, Mike Reynolds, SITE and others.
Sylvia Lavin is a critic, historian and curator whose work explores the limits of architecture across a wide spectrum of historical periods. She is Professor, Director of PhD Programs and former Chair of the Department of Architecture and Urban Design at UCLA and has taught at Princeton, Harvard, and Columbia among other schools. She is a is a frequent contributor to journals such as Artforum, Perspecta and Log and among her books are Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture, Kissing Architecture and Flash in the Pan. Recent exhibitions include Everything Loose Will Land: Art and Architecture in Los Angeles in the 1970s, The New Creativity and The Artless Drawing. She has been recognized by many grants and awards, most recently from the American Academy of Arts and Letters, the Getty Research Institute and the Graham Foundation. She is currently working on The Duck and The Document: True Stories of Postmodern Procedure, an exhibition that originated at the Princeton School of Architecture Gallery as Salvage, is currently on view at the SCI-Arc Gallery and will appear an expanded form at the Canadian Center for Architecture in 2018.
Der Vortrag findet in englischer Sprache statt.
Sylvia Lavin is a critic, historian and curator whose work explores the limits of architecture across a wide spectrum of historical periods. She is Professor, Director of PhD Programs and former Chair of the Department of Architecture and Urban Design at UCLA and has taught at Princeton, Harvard, and Columbia among other schools. She is a is a frequent contributor to journals such as Artforum, Perspecta and Log and among her books are Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture, Kissing Architecture and Flash in the Pan. Recent exhibitions include Everything Loose Will Land: Art and Architecture in Los Angeles in the 1970s, The New Creativity and The Artless Drawing. She has been recognized by many grants and awards, most recently from the American Academy of Arts and Letters, the Getty Research Institute and the Graham Foundation. She is currently working on The Duck and The Document: True Stories of Postmodern Procedure, an exhibition that originated at the Princeton School of Architecture Gallery as Salvage, is currently on view at the SCI-Arc Gallery and will appear an expanded form at the Canadian Center for Architecture in 2018.
Der Vortrag findet in englischer Sprache statt.
Hélène Frichot: Posthuman Landscapes, Things and Thinkables
Vortrag Architektur Klasse
On the cover of Arch+ Journal of Architecture and Urbanism (volume 51, 2016), an image is featured of what appears to be a lumpen rock with grotto-like crevices, yet there is little indication of actual scale. The rock could be the size of a meteorite, or a piece of chewed up, spat out gum. Between 2009 and early 2011, at a women-only show called Elles at the Centre Pompidou in Paris, a small section of the exhibition was dedicated to female architects. In a glass vitrine clustered amidst the other exhibits, a model of ambiguous scale represented a sample of computationally generated architectures. It was composed of delicate, allusively biological curlicues set against a textured, arid ground. From 2005 onwards, coordinated as an astonishing matrix of connections around urgent matters of care pertaining to imperiled oceanic environments, a collective of 8000 people - mostly women - in 27 countries, began crocheting an enormous, distributed coral reef out of yarn, plastic and various discarded things. This globally distributed hand-crafted exercise is based on a geometric model of hyperbolic planes. While the three projects described above bear little resemblance to what we might conventionally identify as architecture, each one can be situated as a form of response to the ‘general crisis’ (environmental, economic, socio-political) of our contemporary posthuman condition.
Setting these three projects against the backdrop of what she calls "posthuman landscapes" and in relation to a conceptual account of things and thinkables, Frichot will ask what more could architecture potentially do to ameliorate our shared environment-worlds.
Hélène Frichot is an Associate Professor and Docent in Critical Studies in Architecture, School of Architecture and the Built Environment, KTH, Stockholm, where she is the director of Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy. While her first discipline is architecture, she holds a PhD in philosophy from the University of Sydney (2004). Recent publications include: Architecture and Feminisms: Ecologies, Economies, Technologies, co-edited with Catharina Gabrielsson and Helen Runting (Routledge, 2017 forthcoming); How to Make Yourself a Feminist Design Power Tool (AADR, 2016); Deleuze and the City, co-edited with Catharina Gabrielsson and Jonathan Metzger (EUP, 2016); De-Signing Design: Cartographies of Theory and Practice, co-edited with Elizabeth Grierson, Harriet Edquist (Lexington Books, 2015).
Der Vortrag findet in englischer Sprache statt.
Hélène Frichot: Posthuman Landscapes, Things and Thinkables
Dienstag, 16. Mai 2017, 19 Uhr, Aula
Dienstag, 16. Mai 2017, 19 Uhr, Aula
On the cover of Arch+ Journal of Architecture and Urbanism (volume 51, 2016), an image is featured of what appears to be a lumpen rock with grotto-like crevices, yet there is little indication of actual scale. The rock could be the size of a meteorite, or a piece of chewed up, spat out gum. Between 2009 and early 2011, at a women-only show called Elles at the Centre Pompidou in Paris, a small section of the exhibition was dedicated to female architects. In a glass vitrine clustered amidst the other exhibits, a model of ambiguous scale represented a sample of computationally generated architectures. It was composed of delicate, allusively biological curlicues set against a textured, arid ground. From 2005 onwards, coordinated as an astonishing matrix of connections around urgent matters of care pertaining to imperiled oceanic environments, a collective of 8000 people - mostly women - in 27 countries, began crocheting an enormous, distributed coral reef out of yarn, plastic and various discarded things. This globally distributed hand-crafted exercise is based on a geometric model of hyperbolic planes. While the three projects described above bear little resemblance to what we might conventionally identify as architecture, each one can be situated as a form of response to the ‘general crisis’ (environmental, economic, socio-political) of our contemporary posthuman condition.
Setting these three projects against the backdrop of what she calls "posthuman landscapes" and in relation to a conceptual account of things and thinkables, Frichot will ask what more could architecture potentially do to ameliorate our shared environment-worlds.
Hélène Frichot is an Associate Professor and Docent in Critical Studies in Architecture, School of Architecture and the Built Environment, KTH, Stockholm, where she is the director of Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy. While her first discipline is architecture, she holds a PhD in philosophy from the University of Sydney (2004). Recent publications include: Architecture and Feminisms: Ecologies, Economies, Technologies, co-edited with Catharina Gabrielsson and Helen Runting (Routledge, 2017 forthcoming); How to Make Yourself a Feminist Design Power Tool (AADR, 2016); Deleuze and the City, co-edited with Catharina Gabrielsson and Jonathan Metzger (EUP, 2016); De-Signing Design: Cartographies of Theory and Practice, co-edited with Elizabeth Grierson, Harriet Edquist (Lexington Books, 2015).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 4. Mai 2017
Sichtbarkeiten des Archivs
Symposium Curatorial Studies
Sichtbarkeiten des Archivs
Ein Studientag anlässlich der Einrichtung des Archiv Peter Roehr am MMK Museum für Moderne Kunst
Donnerstag, 1. Juni, 20 Uhr - Freitag, 2. Juni, 9.30 – 17 Uhr
Wie können Archivbestände sichtbar gemacht werden? Aus unterschiedlichen, institutionellen Perspektiven wird das spezifische Potenzial diskutiert, das Archivmaterialien in Museen und Ausstellungen entfalten können. Als Exponate ermöglichen sie andere mediale und historische Zugänge zu künstlerischen Reflexionen und Diskursen, zu Ausstellungs- und Sammlungsgeschichten und sind mehr als ein bloßer Dokumentationsgegenstand. Zudem ermöglicht die Digitalisierung eine breite Zugänglichkeit für den wissenschaftlichen Umgang mit den Forschungsmaterialien. Anlass für den Studientag ist die Präsentation ausgewählter Materialien aus dem Archiv Peter Roehr im MMK und die Freischaltung einer Onlinedatenbank als digitaler Zugang zu dem gesamten Archivbestand.
Programm
Donnerstag, 01.06.2017, 20 Uhr,
Goethe-Universität, Eisenhower Saal, IG 1.314
Sabine Breitwieser (Museum der Moderne Salzburg)
Für eine emanzipierte Öffentlichkeit: Archive und Sammlungen erschließen
Freitag, 02.06.2017, 9.30–17 Uhr
MMK 1
9.30 Uhr
Peter Gorschlüter
Begrüßung
9.45 Uhr
Stefanie Heraeus und Christian Spies
Einführung
Sichtbarkeiten des Archivs
Ein Studientag anlässlich der Einrichtung des Archiv Peter Roehr am MMK Museum für Moderne Kunst
Donnerstag, 1. Juni, 20 Uhr - Freitag, 2. Juni, 9.30 – 17 Uhr
Wie können Archivbestände sichtbar gemacht werden? Aus unterschiedlichen, institutionellen Perspektiven wird das spezifische Potenzial diskutiert, das Archivmaterialien in Museen und Ausstellungen entfalten können. Als Exponate ermöglichen sie andere mediale und historische Zugänge zu künstlerischen Reflexionen und Diskursen, zu Ausstellungs- und Sammlungsgeschichten und sind mehr als ein bloßer Dokumentationsgegenstand. Zudem ermöglicht die Digitalisierung eine breite Zugänglichkeit für den wissenschaftlichen Umgang mit den Forschungsmaterialien. Anlass für den Studientag ist die Präsentation ausgewählter Materialien aus dem Archiv Peter Roehr im MMK und die Freischaltung einer Onlinedatenbank als digitaler Zugang zu dem gesamten Archivbestand.
Programm
Donnerstag, 01.06.2017, 20 Uhr,
Goethe-Universität, Eisenhower Saal, IG 1.314
Sabine Breitwieser (Museum der Moderne Salzburg)
Für eine emanzipierte Öffentlichkeit: Archive und Sammlungen erschließen
Freitag, 02.06.2017, 9.30–17 Uhr
MMK 1
9.30 Uhr
Peter Gorschlüter
Begrüßung
9.45 Uhr
Stefanie Heraeus und Christian Spies
Einführung
10 Uhr
Heike Gfrereis (Deutsches Literaturarchiv Marbach)
Das sichtbare Individuelle oder dreierlei Archive: Friedrich Schiller, W. G. Sebald und Ernst Jünger
11 Uhr
Paul Maenz, Mario Kramer und Nadine Hahn
Zum Archiv Peter Roehr mit gemeinsamem Besuch der Archiv-Schau im MMK 1
13.30 Uhr
Dietmar Elger (Gerhard Richter Archiv, Dresden)
Zum Archiv von Gerhard Richter
14.30 Uhr
Anette Kruszynski (Kunstsammlung Düsseldorf)
Kunstwerk oder Dokument? Das Archiv Dorothee und Konrad Fischer
16.30 Uhr
Mario Kramer (MMK Museum für Moderne Kunst Frankfurt)
Führung durch die Ausstellung „Primary Structures. Meisterwerke der Minimal Art“
(MMK 2 im Taunus Turm)
17.30 Uhr
Ende der Tagung
Eintritt frei.
Die Veranstaltung findet in deutscher Sprache statt.
Eine Kooperation der Curatorial Studies, des Kunstgeschichtlichen Institut der Goethe-Universität Frankfurt und des MMK Museum für Moderne Kunst Frankfurt am Main.
Heike Gfrereis (Deutsches Literaturarchiv Marbach)
Das sichtbare Individuelle oder dreierlei Archive: Friedrich Schiller, W. G. Sebald und Ernst Jünger
11 Uhr
Paul Maenz, Mario Kramer und Nadine Hahn
Zum Archiv Peter Roehr mit gemeinsamem Besuch der Archiv-Schau im MMK 1
13.30 Uhr
Dietmar Elger (Gerhard Richter Archiv, Dresden)
Zum Archiv von Gerhard Richter
14.30 Uhr
Anette Kruszynski (Kunstsammlung Düsseldorf)
Kunstwerk oder Dokument? Das Archiv Dorothee und Konrad Fischer
16.30 Uhr
Mario Kramer (MMK Museum für Moderne Kunst Frankfurt)
Führung durch die Ausstellung „Primary Structures. Meisterwerke der Minimal Art“
(MMK 2 im Taunus Turm)
17.30 Uhr
Ende der Tagung
Eintritt frei.
Die Veranstaltung findet in deutscher Sprache statt.
Eine Kooperation der Curatorial Studies, des Kunstgeschichtlichen Institut der Goethe-Universität Frankfurt und des MMK Museum für Moderne Kunst Frankfurt am Main.
Freitag, 28. April 2017
Gabi Schillig: Responsive Architectures: Dialogical Spaces
Vortrag Architektur Klasse
Gabi Schillig: Responsive Architectures: Dialogical Spaces
Donnerstag, 4. Mai 2017, 19 Uhr, Aula
HOSTED BY FOUNDATION STÄDELSCHULE FÜR BAUKUNST
Not only our objects are becoming more virtual but also our spaces. Genuine common action and
communication, on the other hand, is closely linked to corporeality and to materiality, to the direct
experience of the impact and significance of an action. Humans, as sensual and living beings, and their relations and interactions with space they are a part of and which they influence through their actions, are at the core of Gabi Schillig´s artistic investigations.
HOSTED BY FOUNDATION STÄDELSCHULE FÜR BAUKUNST
Not only our objects are becoming more virtual but also our spaces. Genuine common action and
communication, on the other hand, is closely linked to corporeality and to materiality, to the direct
experience of the impact and significance of an action. Humans, as sensual and living beings, and their relations and interactions with space they are a part of and which they influence through their actions, are at the core of Gabi Schillig´s artistic investigations.
The question of body, materiality and physicality becomes an important criterion: the choice of material and the development of structure not only affect the geometric and spatial properties of objects and spaces, but also transport multi-sensory and atmospheric aspects that can be used to enfold spaces of communication: within exhibition and interior spaces, spatial installations, through instruments and in urban environments and landscapes. 'Dialogical Spaces’ are performative spaces that invite the viewer to become an active participant. Interactions not only establish corporeal, time-based, spatial or object-based relationships but also communicative and social relations between people. They enable another kind of perception of space and enfold potential spaces in which experimental spatial constructs act as mediating structures and surfaces.
Gabi Schillig studied Architecture in Coburg and completed her postgraduate studies at the Städelschule Architecture Class in the early 2000’s with Prof. Ben van Berkel, before founding the Studio for Dialogical Spaces in Berlin. In the past she taught Space-Related Systems and Exhibition Design at the Berlin University of the Arts’ Institute for Transmedia Design, as well as in the Architecture Class at Städelschule Frankfurt. In 2012 she was appointed as Professor for Spatial Design at the Düsseldorf University of Applied Sciences - Peter Behrens School of Arts (PBSA) at the Faculty of Design. Since 2015 she is the vice chairwoman of the Institute for Research in Applied Arts (IRAA) at the PBSA. Since 2005 she is teaching and lecturing in trans-disciplinary contexts, has exhibited internationally and received several fellowships and prizes, amongst others: Akademie Schloss Solitude Stuttgart (2007-08), Van Alen Institute New York (2009), Nordic Artists´ Centre Dale (2010),Weissenhof Architekturförderpreis (2010), KHOJ International Artists´ Association New Delhi (2011) and Largodas Artes Rio de Janeiro (2015). In 2016 she was a resident fellow at the Stiftung Bauhaus Dessau.
Gabi Schillig studied Architecture in Coburg and completed her postgraduate studies at the Städelschule Architecture Class in the early 2000’s with Prof. Ben van Berkel, before founding the Studio for Dialogical Spaces in Berlin. In the past she taught Space-Related Systems and Exhibition Design at the Berlin University of the Arts’ Institute for Transmedia Design, as well as in the Architecture Class at Städelschule Frankfurt. In 2012 she was appointed as Professor for Spatial Design at the Düsseldorf University of Applied Sciences - Peter Behrens School of Arts (PBSA) at the Faculty of Design. Since 2015 she is the vice chairwoman of the Institute for Research in Applied Arts (IRAA) at the PBSA. Since 2005 she is teaching and lecturing in trans-disciplinary contexts, has exhibited internationally and received several fellowships and prizes, amongst others: Akademie Schloss Solitude Stuttgart (2007-08), Van Alen Institute New York (2009), Nordic Artists´ Centre Dale (2010),Weissenhof Architekturförderpreis (2010), KHOJ International Artists´ Association New Delhi (2011) and Largodas Artes Rio de Janeiro (2015). In 2016 she was a resident fellow at the Stiftung Bauhaus Dessau.
Both in her artistic work and teaching she investigates contemporary and future questions of spatial design such as the relationship between space and body, the emergence of spatial systems, the potentials of materiality and the experimental use of analogue and digital design methodologies. Her conceptual approach results in multi-sensory, dialogical structures and spaces of communication on multiple scales and in different spatial contexts. They lead to the concept of a multidimensional spatiality, based on social and physical processes and connect materiality and interaction in an immediate way.
Der Vortrag findet in englischer Sprache statt.
Der Vortrag findet in englischer Sprache statt.
Montag, 24. April 2017
PURE FICTION INTERNATIONAL ART BOOKFAIR
Buchmesse
PURE FICTION INTERNATIONAL ART BOOKFAIR
Freitag, 28 April 2017, 10 - 19 Uhr, Lichthalle
Join Pure Fiction, Agatha Magazine, Oslo ∞ Arjan Jarry, Cologne ∞ Bauer Verlag, Frankfurt ∞ Willarson Brandt, La Tuna ∞ Broken Dimanche Press, Berlin ∞ Galerie Buchholz, Cologne ∞ Douglas Hyde Gallery, Dublin ∞ Ames Gerould, Berlin ∞ Impure Fiction ∞ Luzie Meyer, Berlin ∞ Maria Editions, New York ∞ Marq v. Schlegell, Cologne ∞ Merve Verlag ∞ OCR, London ∞ Perimeter Books, Melbourne ∞ Portikus, Frankfurt ∞ RE/Search Publications, San Francisco ∞ Sandberg Institute, Amsterdam ∞ Semiotext(e), Los Angeles ∞ STARSHIP Magazine, Berlin ∞ Sternberg Press, Berlin ∞ Josef Strau, Boston/Frankfurt ∞ Jennifer Teets, Paris ∞ Texte zur Kunst, Berlin ∞ Uncle Chop Chop, Glasgow
PURE FICTION INTERNATIONAL ART BOOKFAIR
Freitag, 28 April 2017, 10 - 19 Uhr, Lichthalle
Join Pure Fiction, Agatha Magazine, Oslo ∞ Arjan Jarry, Cologne ∞ Bauer Verlag, Frankfurt ∞ Willarson Brandt, La Tuna ∞ Broken Dimanche Press, Berlin ∞ Galerie Buchholz, Cologne ∞ Douglas Hyde Gallery, Dublin ∞ Ames Gerould, Berlin ∞ Impure Fiction ∞ Luzie Meyer, Berlin ∞ Maria Editions, New York ∞ Marq v. Schlegell, Cologne ∞ Merve Verlag ∞ OCR, London ∞ Perimeter Books, Melbourne ∞ Portikus, Frankfurt ∞ RE/Search Publications, San Francisco ∞ Sandberg Institute, Amsterdam ∞ Semiotext(e), Los Angeles ∞ STARSHIP Magazine, Berlin ∞ Sternberg Press, Berlin ∞ Josef Strau, Boston/Frankfurt ∞ Jennifer Teets, Paris ∞ Texte zur Kunst, Berlin ∞ Uncle Chop Chop, Glasgow
BOOKS
EDITIONS
EVENTS
POSTERS
T SHIRTS
ART BOOKS
ART
Hyper-collectibles ...
independentartbookfair@gmail.com
EDITIONS
EVENTS
POSTERS
T SHIRTS
ART BOOKS
ART
Hyper-collectibles ...
independentartbookfair@gmail.com
Freitag, 21. April 2017
Theodore Spyropoulos: Behaviours
Vortrag Architektur Klasse
Theodore Spyropoulos: Behaviours
Donnerstag, 27. April 2017, 19 Uhr, Aula
If science fiction has become fact, architecture today has to move beyond representation and the fixed and finite tendencies that declare what architecture should be and work towards what it could be. Within these evolving territories, by necessity new models must conceptualize our ever-evolving present and the uncertain and latent world within which we operate. The once comfortable and understood orthodoxies in architectural thinking have proven limited in their capacity to engage and address our contemporary condition.
Today, the intersections of information, life, and matter display complexities that suggest the possibility of a deeper synthesis. As we live in ever-evolving information-rich environments, the question is not why, but how architecture can actively participate. In this expanded field of experimentation, architecture should be understood beyond building, beyond materiality and the inert tendencies that conventionally define it. Architecture in this talk will be argued as a means to interrogate the contemporary condition and to provide a framework within which to operate.
Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s world renowned Design Research Lab (AADRL) in London. He has been a visiting Research Fellow at M.I.T.’s Center for Advanced Visual Studies and co-founded the New Media and Information Research initiative at the AA. Theodore has taught in the graduate school of UPENN, Royal College of Art Innovation Design Engineering Department and the University of Innsbruck. In 2002 he founded the experimental architecture and design practice Minimaforms. The work of Minimaforms has been acquired by the FRAC Centre, the Signum Foundation and the Archigram Archive, and has exhibited at MOMA, Barbican Centre, Detroit Institute of Arts, Onassis Cultural Centre and the ICA. Previously Theodore has worked as a project architect for the offices of Peter Eisenman and Zaha Hadid. In 2013 the Association for Computer-Aided Design in Architecture awarded him The ACADIA award of excellence for his educational work directing the AADRL.
Spyropoulos returns to Städelschule to give this lecture after having previously been a visiting critic to the Städelschule Architecture Class End-of-Year Reviews.
Der Vortrag findet in englischer Sprache statt.
Theodore Spyropoulos: Behaviours
Donnerstag, 27. April 2017, 19 Uhr, Aula
If science fiction has become fact, architecture today has to move beyond representation and the fixed and finite tendencies that declare what architecture should be and work towards what it could be. Within these evolving territories, by necessity new models must conceptualize our ever-evolving present and the uncertain and latent world within which we operate. The once comfortable and understood orthodoxies in architectural thinking have proven limited in their capacity to engage and address our contemporary condition.
Today, the intersections of information, life, and matter display complexities that suggest the possibility of a deeper synthesis. As we live in ever-evolving information-rich environments, the question is not why, but how architecture can actively participate. In this expanded field of experimentation, architecture should be understood beyond building, beyond materiality and the inert tendencies that conventionally define it. Architecture in this talk will be argued as a means to interrogate the contemporary condition and to provide a framework within which to operate.
Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s world renowned Design Research Lab (AADRL) in London. He has been a visiting Research Fellow at M.I.T.’s Center for Advanced Visual Studies and co-founded the New Media and Information Research initiative at the AA. Theodore has taught in the graduate school of UPENN, Royal College of Art Innovation Design Engineering Department and the University of Innsbruck. In 2002 he founded the experimental architecture and design practice Minimaforms. The work of Minimaforms has been acquired by the FRAC Centre, the Signum Foundation and the Archigram Archive, and has exhibited at MOMA, Barbican Centre, Detroit Institute of Arts, Onassis Cultural Centre and the ICA. Previously Theodore has worked as a project architect for the offices of Peter Eisenman and Zaha Hadid. In 2013 the Association for Computer-Aided Design in Architecture awarded him The ACADIA award of excellence for his educational work directing the AADRL.
Spyropoulos returns to Städelschule to give this lecture after having previously been a visiting critic to the Städelschule Architecture Class End-of-Year Reviews.
Der Vortrag findet in englischer Sprache statt.
Sirah Foighel Brutmann and Eitan Efrat
Vortrag
Sirah Foighel Brutmann & Eitan Efrat
Montag, 24. April 2017, 19 Uhr, Aula
Sirah Foighel Brutmann and Eitan Efrat (both *1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the audiovisual field. They are living and working in Brussels.
Sirah Foighel Brutmann & Eitan Efrat
Montag, 24. April 2017, 19 Uhr, Aula
Sirah Foighel Brutmann and Eitan Efrat (both *1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the audiovisual field. They are living and working in Brussels.
Sirah Foighel Brutmann and Eitan Efrat's practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory.
In their lecture at Städelschule, Sirah Foighel Brutmann and Eitan Efrat will talk about their practice and their projects, including Printed Matter (2011), an approximately 30-minute rear projection, which is part of the exhibition Slide show at Portikus.
Der Vortrag findet in englischer Sprache statt.
In their lecture at Städelschule, Sirah Foighel Brutmann and Eitan Efrat will talk about their practice and their projects, including Printed Matter (2011), an approximately 30-minute rear projection, which is part of the exhibition Slide show at Portikus.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 19. April 2017
VOINA
Vortrag
VOINA
Donnerstag, 20. April 2017, 19 Uhr, Aula
VOINA is a Russian street-art group known for their politically motivated and wryly provocative 'actions', such as Banning of Clubs, 2008, in which the doors to an elite Moscow club were welded shut with an oxy-acetylene torch, and Palace Revolution, 2010, where police cars were flipped over on the pretext of retrieving a football lost by a child.
We are pleased to introduce VOINA members Natalia Sokol, Oleg Vorotnikov, and their three children for a lecture taking place in the Aula.
https://www.liveleak.com/view?i=ccc_1443619675
Der Vortrag findet in englischer Sprache statt.
VOINA
Donnerstag, 20. April 2017, 19 Uhr, Aula
VOINA is a Russian street-art group known for their politically motivated and wryly provocative 'actions', such as Banning of Clubs, 2008, in which the doors to an elite Moscow club were welded shut with an oxy-acetylene torch, and Palace Revolution, 2010, where police cars were flipped over on the pretext of retrieving a football lost by a child.
We are pleased to introduce VOINA members Natalia Sokol, Oleg Vorotnikov, and their three children for a lecture taking place in the Aula.
https://www.liveleak.com/view?i=ccc_1443619675
Der Vortrag findet in englischer Sprache statt.
Montag, 13. Februar 2017
Marina Rosenfeld
Vortrag
Marina Rosenfeld
Dienstag, 14. Februar 2017, 19 Uhr, Aula
Since the 1990s, Marina Rosenfeld, a New York-based artist and composer, has produced a dense oeuvre of sound works, installations and performative works, often involving the resonance and architecture of monumental spaces. Working at the limits of music composition and performance, but also corralling drawing and notation, Rosenfeld's pieces have foregrounded the complex of material and other conditions that define the situation where music is enacted. Since her early project the Sheer Frost Orchestra, an all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation.
In her lecture at Städelschule Marina Rosenfeld will talk about her practice and her latest projects, including Free Exercise (2014-2016), a collective performance presented at La Biennale de Montréal as well as about her upcoming exhibition, titled Deathstar, at Portikus, which opens February 17, 2017 at 7 PM.
Der Vortrag findet in englischer Sprache statt.
Marina Rosenfeld
Dienstag, 14. Februar 2017, 19 Uhr, Aula
Since the 1990s, Marina Rosenfeld, a New York-based artist and composer, has produced a dense oeuvre of sound works, installations and performative works, often involving the resonance and architecture of monumental spaces. Working at the limits of music composition and performance, but also corralling drawing and notation, Rosenfeld's pieces have foregrounded the complex of material and other conditions that define the situation where music is enacted. Since her early project the Sheer Frost Orchestra, an all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation.
In her lecture at Städelschule Marina Rosenfeld will talk about her practice and her latest projects, including Free Exercise (2014-2016), a collective performance presented at La Biennale de Montréal as well as about her upcoming exhibition, titled Deathstar, at Portikus, which opens February 17, 2017 at 7 PM.
Der Vortrag findet in englischer Sprache statt.
Freitag, 3. Februar 2017
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Vortrag
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Mittwoch, 8. Februar 2017, 19 Uhr, Aula
“Aller Jamais Retour” is the mantra of Tabea Blumenschein and Ulrike Ottinger’s joined film project „Bildnis einer Trinkerin“ from 1979, in which the former plays a woman who travels to Berlin to drink herself to death. And she does so beautifully, acting out her public and private carouse as a flamboyant act of antisocial behaviour, that puts to shame the stereotypical social roles of female drinking as either a bourgeois privatized tragedy or a proletarian publicly displayed disgrace. Blumenschein and Ottinger propose an antisocial female, one whose role is non-reproductive and rather destructive – not (only) for herself but more so for the social order she exempts herself from. And they are far from alone in this endeavour.
There is whole a history of such antisocial forms in modern and contemporary art, stretching from the French Symbolists, to early Salvador Dalí, to the destruction art of the 1960s and Lee Lozano’s instruction pieces and paintings, all the way to more contemporary positions such as Ian White, Michaela Eichwald, Steve Reinke or Sidsel Meineche Hansen.
In “Aller Jamais Retour” I want to argue that specifically within a present tense that is marked by the de-socialization of modern forms of life, the idea of an antisocial art becomes of more and more interest. The history of an art that does not so much aim at mending the contemporary brutalisms, but rather reflects them back, formalizes and materializes them and fills them with divergent desires and affects. In this talk I want to look at a couple of examples of such an antisocial art to test out their relations and align their possibly shared forces.
Kerstin Stakemeier is a Berlin-based educator and writer. She works as a professor of Art Theory and Mediation at the Academy of Arts Nuremberg and contributes to Artforum and Texte zur Kunst a.o.. In 2016 „Reproducing Autonomy" (co-authored with Marina Vishmidt) came out, in 2017 „Entgrenzter Formalismus“ (Debordered Formalism) will be published, and the long-term exhibition and magazine project „Klassensprachen / Class Languages“ (with Manuela Ammer, Eva Birkenstock, Jenny Nachtigall, Stephanie Weber) will start with two group shows in Berlin and Düsseldorf and two magazine issues.
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Mittwoch, 8. Februar 2017, 19 Uhr, Aula
“Aller Jamais Retour” is the mantra of Tabea Blumenschein and Ulrike Ottinger’s joined film project „Bildnis einer Trinkerin“ from 1979, in which the former plays a woman who travels to Berlin to drink herself to death. And she does so beautifully, acting out her public and private carouse as a flamboyant act of antisocial behaviour, that puts to shame the stereotypical social roles of female drinking as either a bourgeois privatized tragedy or a proletarian publicly displayed disgrace. Blumenschein and Ottinger propose an antisocial female, one whose role is non-reproductive and rather destructive – not (only) for herself but more so for the social order she exempts herself from. And they are far from alone in this endeavour.
There is whole a history of such antisocial forms in modern and contemporary art, stretching from the French Symbolists, to early Salvador Dalí, to the destruction art of the 1960s and Lee Lozano’s instruction pieces and paintings, all the way to more contemporary positions such as Ian White, Michaela Eichwald, Steve Reinke or Sidsel Meineche Hansen.
In “Aller Jamais Retour” I want to argue that specifically within a present tense that is marked by the de-socialization of modern forms of life, the idea of an antisocial art becomes of more and more interest. The history of an art that does not so much aim at mending the contemporary brutalisms, but rather reflects them back, formalizes and materializes them and fills them with divergent desires and affects. In this talk I want to look at a couple of examples of such an antisocial art to test out their relations and align their possibly shared forces.
Kerstin Stakemeier is a Berlin-based educator and writer. She works as a professor of Art Theory and Mediation at the Academy of Arts Nuremberg and contributes to Artforum and Texte zur Kunst a.o.. In 2016 „Reproducing Autonomy" (co-authored with Marina Vishmidt) came out, in 2017 „Entgrenzter Formalismus“ (Debordered Formalism) will be published, and the long-term exhibition and magazine project „Klassensprachen / Class Languages“ (with Manuela Ammer, Eva Birkenstock, Jenny Nachtigall, Stephanie Weber) will start with two group shows in Berlin and Düsseldorf and two magazine issues.
Der Vortrag findet in englischer Sprache statt.
Freitag, 27. Januar 2017
Jumana Manna
Vortrag
Jumana Manna: A Magical Substance Flows Into Me
Mittwoch, 1. Februar 2017, 19 Uhr, Aula
Jumana Manna is a visual artist, raised in Jerusalem and living in Berlin. She will present a body of work and inspirations, from her days as a student at the National Academy of Arts, Oslo, till the present. Her films address issues of subjectivity and desire, archaeology and notions of preservation, settler-colonialism and music, while her sculptures are wilder combinations of found materials, casts and cut outs that condense her extensive research into unexpected visceral forms.
Manna has exhibited at Sculpture Center, New York, Chisenhale Gallery, London, Beirut Art Center, Liverpool Biennial, and Kunsthalle Wein. Her films has been screened at M+, Hong Kong, 54th Viennale International Film Festival, 66th Berlinale Forum, Tate Modern, and IFFR Rotterdam. This year, Jumana will be part of the Nordic Pavilion at the Venice Biennale, and is working on new commissions for the HighLine in New York, and the 10th Satellite program at Jeu de Paume in Paris.
Der Vortrag findet in englischer Sprache statt.
Jumana Manna: A Magical Substance Flows Into Me
Mittwoch, 1. Februar 2017, 19 Uhr, Aula
Jumana Manna is a visual artist, raised in Jerusalem and living in Berlin. She will present a body of work and inspirations, from her days as a student at the National Academy of Arts, Oslo, till the present. Her films address issues of subjectivity and desire, archaeology and notions of preservation, settler-colonialism and music, while her sculptures are wilder combinations of found materials, casts and cut outs that condense her extensive research into unexpected visceral forms.
Manna has exhibited at Sculpture Center, New York, Chisenhale Gallery, London, Beirut Art Center, Liverpool Biennial, and Kunsthalle Wein. Her films has been screened at M+, Hong Kong, 54th Viennale International Film Festival, 66th Berlinale Forum, Tate Modern, and IFFR Rotterdam. This year, Jumana will be part of the Nordic Pavilion at the Venice Biennale, and is working on new commissions for the HighLine in New York, and the 10th Satellite program at Jeu de Paume in Paris.
Der Vortrag findet in englischer Sprache statt.
Sonntag, 22. Januar 2017
Judith Hopf: UP
Vortrag
Judith Hopf: UP
Dienstag, 24.01.2017, 19 Uhr, Aula
UP is the title of Judith Hopf´s latest exhibition project, realized at the Museion in Bolzano, Italy, autumn 2016. The lecture with the eponymous title will catch up with and debate her newest sculptural works and video films. She will also talk about her artistic and intellectual inspirations, which „keep on calling“ in her artistic praxis, expected or unexpected: Yesterday, Annette Wehrmann called at 5 a.m., Philip Guston 9.30 a.m., and recently, a conference call with Lucie Rie and Bernard Leach that took half a day…
Judith Hopf is an artist, based in Berlin, and works as a professor at Städelschule in Frankfurt am Main. Her next solo exhibitions will take place at the Hammer Museum, Los Angeles in 2017 and at KunstWerke Berlin in 2018.
Judith Hopf: UP
Dienstag, 24.01.2017, 19 Uhr, Aula
UP is the title of Judith Hopf´s latest exhibition project, realized at the Museion in Bolzano, Italy, autumn 2016. The lecture with the eponymous title will catch up with and debate her newest sculptural works and video films. She will also talk about her artistic and intellectual inspirations, which „keep on calling“ in her artistic praxis, expected or unexpected: Yesterday, Annette Wehrmann called at 5 a.m., Philip Guston 9.30 a.m., and recently, a conference call with Lucie Rie and Bernard Leach that took half a day…
Judith Hopf is an artist, based in Berlin, and works as a professor at Städelschule in Frankfurt am Main. Her next solo exhibitions will take place at the Hammer Museum, Los Angeles in 2017 and at KunstWerke Berlin in 2018.
Der Vortrag findet in englischer Sprache statt.
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