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.
Sonntag, 28. Mai 2017
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.
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