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.
Freitag, 27. Januar 2017
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.
Donnerstag, 12. Januar 2017
John Roberts
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
John Roberts: After the Crisis of Value: Some Further Reflections of the Problems.
Deskilling and Reskilling in Contemporary Art
Mittwoch, 18. Januar 2017, 19 Uhr, Aula
The intellectual shift in the critique of political economy from questions of skill and deskilling within the framework of capitalist boom-and-bust, to more fundamental questions regarding time and value in relation to the growing crisis of labour defines our present period. And this is why the ‘end of work’ has become so crucial to recent radical political theory. Given the exponential rise of deskilling, the robotic displacement of living labour, and consequently, the detachment of unemployment and underemployment from so-called business cycles - the expansion of 'surplus populations' globally - the question of free labour has again become a political and emancipatory priority. (See for example the writings of André Gorz, End Notes, Nick Srnicek and Alex Williams, Peter Fleming).
Ringvorlesung Institut für Kunstkritik
John Roberts: After the Crisis of Value: Some Further Reflections of the Problems.
Deskilling and Reskilling in Contemporary Art
Mittwoch, 18. Januar 2017, 19 Uhr, Aula
The intellectual shift in the critique of political economy from questions of skill and deskilling within the framework of capitalist boom-and-bust, to more fundamental questions regarding time and value in relation to the growing crisis of labour defines our present period. And this is why the ‘end of work’ has become so crucial to recent radical political theory. Given the exponential rise of deskilling, the robotic displacement of living labour, and consequently, the detachment of unemployment and underemployment from so-called business cycles - the expansion of 'surplus populations' globally - the question of free labour has again become a political and emancipatory priority. (See for example the writings of André Gorz, End Notes, Nick Srnicek and Alex Williams, Peter Fleming).
Contemporary artists are no different from productive and nonproductive labourers in being subject to a process of deskilling, as a consequence of changes in the relations of production. But if art has lost some of its artisanal, productive allure over the last fifty years as a result of this, this does not mean that artists are objectively excluded from artistic production on the basis of these changes. Deskilling in art is never absolute, because artistic labour as free labour is detached from the discipline of labour-power. Art, therefore, still has an important part to play in defining what productive and non-productive labour might become after the 'end of work'.
In this lecture, John Roberts looks at how the future of the 'crisis of work‘ is currently intertwined with the emancipatory possibilities of artistic free labour.
In this lecture, John Roberts looks at how the future of the 'crisis of work‘ is currently intertwined with the emancipatory possibilities of artistic free labour.
John Roberts is Professor of Art and Aesthetics at the University of Wolverhampton. His books include The Art of Interruption: Realism, Photography and the Everyday, The Philistine Controversy (with Dave Beech), Philosophizing the Everyday, and The Necessity of Errors. He is also a contributor to Radical Philosophy, Oxford Art Journal, Historical Materialism, Third Text, and Cabinet magazine.
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Britta Peters & Kasper König: Skulptur Projekte 2017
Vortrag
Britta Peters & Kasper König: Skulptur Projekte 2017
Donnerstag, 9. Februar 2017, 19 Uhr, Aula
From 10 June to 1 October 2017, a total of some thirty new artistic productions will be on display all over the city space of Münster, covering the spectrum between sculpture and performative art in the urban space.
Britta Peters & Kasper König: Skulptur Projekte 2017
Donnerstag, 9. Februar 2017, 19 Uhr, Aula
From 10 June to 1 October 2017, a total of some thirty new artistic productions will be on display all over the city space of Münster, covering the spectrum between sculpture and performative art in the urban space.
The history of Skulptur Projekte Münster is closely linked with the idea of creating a public not just with but also for art. The exhibition was started in 1977 and takes place only every ten years. Its concept is very much based on the ideas of the participating artists and has remained essentially unchanged over the past decades: the curatorial team invites artists from all over the globe to explore the relationship between art, the public space, and the urban environment and develop new, site-specific works. Selected projects are realized in the urban setting and inscribe themselves in the structural, historical and societal contexts of the city. At the same time, the projects point beyond the specific place: themes related to the global present and reflections on contemporary concepts of sculpture are as much an integral part of the artistic inquiries as investigation into the basic parameters of publicness and the public realm.
Britta Peters and Kasper König will give a brief introduction into the history of the exhibition and discuss the plans for the next edition in 2017.
Der Vortrag findet in englischer Sprache statt.
Amalia Ulman: Privilege
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
Amalia Ulman: Privilege
Dienstag, 17. Januar 2017, 19 Uhr, Aula
AGENDA is Amalia Ulman’s latest staged lecture.
Comprised of powerpoint presentation, live performance and sound effects it exposes the final narrative of the online performance Privilege and it’s two subsequent shows Labour Dance (Arcadia_Missa, London) and Reputation (New Galerie, Paris).
In AGENDA Ulman uses poetic language to narrate self experimentation with female hormones and the effects of excess estrogen in a body trapped between the carpeted floors and ceiling tiles of her DTLA office - a tight structure of vertical structures, linearity and clocks. This dreamlike storyline later develops into a series of cons and scams, economies of appearances and the rise and fall of Bob The Pigeon, an ode to a working class hero which finishes with pessimistic spiritual notes that the author recognizes as selfish, recognizing the entitlement of her nihilism, escapism and ability to complain to carry its own privilege—a position of criticality not accessible to all.
Amalia Ulman is an airport-based artist with an office in Downtown LA. Born in Argentina and raised in Spain, she studied Fine Arts at Central Saint Martins in London. Her works are primarily voiced in the first person, often blurring the distinction between the artist and object of study. Ulman explores the relationship between consumerism and identity, class imitation and social deception, altruism and empathy.
Selected artworks include video essays like Annals of Private History (2015, Frieze Projects); and performances such as Excellences & Perfections archived by Rhizome the New Museum (New York) and exhibited at the Tate Modern and Whitechapel Gallery (London). Recent artworks include the performance Privilege and its three subsequent solo shows: Labour Dance (Arcadia_Missa, London), Reputation (New Galerie, Paris) and Dignity (James Fuentes, New York).
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Ringvorlesung Institut für Kunstkritik
Amalia Ulman: Privilege
Dienstag, 17. Januar 2017, 19 Uhr, Aula
Comprised of powerpoint presentation, live performance and sound effects it exposes the final narrative of the online performance Privilege and it’s two subsequent shows Labour Dance (Arcadia_Missa, London) and Reputation (New Galerie, Paris).
In AGENDA Ulman uses poetic language to narrate self experimentation with female hormones and the effects of excess estrogen in a body trapped between the carpeted floors and ceiling tiles of her DTLA office - a tight structure of vertical structures, linearity and clocks. This dreamlike storyline later develops into a series of cons and scams, economies of appearances and the rise and fall of Bob The Pigeon, an ode to a working class hero which finishes with pessimistic spiritual notes that the author recognizes as selfish, recognizing the entitlement of her nihilism, escapism and ability to complain to carry its own privilege—a position of criticality not accessible to all.
Amalia Ulman is an airport-based artist with an office in Downtown LA. Born in Argentina and raised in Spain, she studied Fine Arts at Central Saint Martins in London. Her works are primarily voiced in the first person, often blurring the distinction between the artist and object of study. Ulman explores the relationship between consumerism and identity, class imitation and social deception, altruism and empathy.
Selected artworks include video essays like Annals of Private History (2015, Frieze Projects); and performances such as Excellences & Perfections archived by Rhizome the New Museum (New York) and exhibited at the Tate Modern and Whitechapel Gallery (London). Recent artworks include the performance Privilege and its three subsequent solo shows: Labour Dance (Arcadia_Missa, London), Reputation (New Galerie, Paris) and Dignity (James Fuentes, New York).
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Donnerstag, 5. Januar 2017
Birgit Megerle: Transparented
Vortrag
Birgit Megerle: Transparented
Donnerstag, 12. Januar 2017, 19 Uhr, Aula
Birgit Megerle is a German painter. She will talk about recent exhibitions and the performance-group Kontakt Sappho, an ongoing project operative since 2012, which consists of the artists Sonja Cvitkovic, Michaela Meise and Birgit Megerle herself.
She will also talk about her involvement with the Akademie Isotr̃op; an independent art school, that was founded by a collective of Hamburg artists, authors, and musicians in 1996 and existed until 2000. The academy was conceived as an experimental learning environment based on a democratic formulation of classes, student-teacher relationships, and exhibitions.
Megerle (*1975 in Geisingen) lives and works in Berlin. Her next solo-exhibition will be at Kunsthaus Glarus, in Switzerland May 2017.
Der Vortrag findet in englischer Sprache statt.
Birgit Megerle: Transparented
Donnerstag, 12. Januar 2017, 19 Uhr, Aula
Birgit Megerle is a German painter. She will talk about recent exhibitions and the performance-group Kontakt Sappho, an ongoing project operative since 2012, which consists of the artists Sonja Cvitkovic, Michaela Meise and Birgit Megerle herself.
She will also talk about her involvement with the Akademie Isotr̃op; an independent art school, that was founded by a collective of Hamburg artists, authors, and musicians in 1996 and existed until 2000. The academy was conceived as an experimental learning environment based on a democratic formulation of classes, student-teacher relationships, and exhibitions.
Megerle (*1975 in Geisingen) lives and works in Berlin. Her next solo-exhibition will be at Kunsthaus Glarus, in Switzerland May 2017.
Der Vortrag findet in englischer Sprache statt.
Montag, 2. Januar 2017
Petra Van Brabandt: To Heat by Melting
Vortrag
Petra Van Brabandt: To Heat by Melting
Mittwoch, 11. Januar 2017, 19 Uhr, Aula
What have Cabanel’s Birth of Venus, Klein’s Anthropometry, or Kusama’s Self-Obliteration in common? What relates Picasso’s Woman Pissing to Marlene Dumas’ watercolours and Tejal Shah’s Between the Waves? All these art works are deploying a wet aesthetics. This refers to an aesthetic experience that is realised by the perceptual interaction with wetness. What is remarkable of wet aesthetics, is that it affords a strong erotic or sexual resonance. This is not surprising; a wet aesthetics produces specific visceral effects in the viewer’s body.
Queer pornographic art has radicalized wet aesthetics in promising ways; it realises its visceral, motoric, and tactile potential in a liquifying, emancipatory, and sex-positive project. The viewer experiences queer pornography’s wet aesthetics as heating by melting. It radically decenters our subject/object experience and our fixed sexual identities, orientations, fetishes, and bodies. We are seduced into a sex-positive re-appropriation of bodily fluids, and our experience of desire and pleasure is reconstructed as dispossession, abundance, and surrender.
Petra van Brabandt is a Belgian philosopher of ethics and a porno specialist. She currently teaches at the St Lucas School of Arts in Antwerp and develops for her lecture an account on the aesthetic quality of fluids in pornographic art.
Der Vortrag findet in englischer Sprache statt.
Petra Van Brabandt: To Heat by Melting
Mittwoch, 11. Januar 2017, 19 Uhr, Aula
What have Cabanel’s Birth of Venus, Klein’s Anthropometry, or Kusama’s Self-Obliteration in common? What relates Picasso’s Woman Pissing to Marlene Dumas’ watercolours and Tejal Shah’s Between the Waves? All these art works are deploying a wet aesthetics. This refers to an aesthetic experience that is realised by the perceptual interaction with wetness. What is remarkable of wet aesthetics, is that it affords a strong erotic or sexual resonance. This is not surprising; a wet aesthetics produces specific visceral effects in the viewer’s body.
Queer pornographic art has radicalized wet aesthetics in promising ways; it realises its visceral, motoric, and tactile potential in a liquifying, emancipatory, and sex-positive project. The viewer experiences queer pornography’s wet aesthetics as heating by melting. It radically decenters our subject/object experience and our fixed sexual identities, orientations, fetishes, and bodies. We are seduced into a sex-positive re-appropriation of bodily fluids, and our experience of desire and pleasure is reconstructed as dispossession, abundance, and surrender.
Petra van Brabandt is a Belgian philosopher of ethics and a porno specialist. She currently teaches at the St Lucas School of Arts in Antwerp and develops for her lecture an account on the aesthetic quality of fluids in pornographic art.
Der Vortrag findet in englischer Sprache statt.
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