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.

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.

Der Vortrag findet in englischer Sprache statt. 

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.

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.

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

Der Vortrag findet in englischer Sprache statt. 

Farshid Moussavi: Working With Time

Architektur Klasse - Dean’s Honorary Lecture
Farshid Moussavi: Working With Time

Donnerstag, 13. Juli 2017, 19 Uhr, Aula 

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.**

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.

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.

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 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.

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.

Vortrag findet in englischer Sprache 

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.