Public Lectures / Öffentliche Vorträge

Eyal Weizman

2012-01-31T08:42:00.001+01:00

Vortrag
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula

Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. In 2010/11 he was a guest professor at the Städelschule.

His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.

Die Veranstaltung findet in englischer Sprache statt.

Daniel Wetzel / Rimini Protokoll

2012-01-31T08:41:00.002+01:00

Vortrag
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula

Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.

Die Veranstaltung findet in englischer Sprache statt.

Brigitte Weingart

2012-01-22T17:02:00.001+01:00

Vortrag
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula

Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.

Emily Wardill

2012-01-22T17:01:00.001+01:00

Vortrag
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula

It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010

Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.

Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.

Rundgang 2012

2012-01-17T12:00:00.003+01:00

Rundgang 2012 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule

10. - 12. Februar 2012

Eröffnung mit Preisverleihung: Freitag, 10. Februar, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36

Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei

Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.

Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2011 nahmen mehr als 13.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2012 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.

Highlights:

Freitag, 10. Februar, Mensa
19 Uhr Eröffnung und Preisverleihung
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / Engel & Völkers Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis / DIC Preis
Jury: Simon Starling und Anja Nathan-Dorn

22 Uhr Rundgang Party, Daimlerstraße 32

Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse

Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.

Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.

Wir freuen uns auf Ihr Kommen!

Der "Rundgang 2012" wird unterstützt von:

Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
Engel & Völkers AG
PRE Real Estate Deutschland
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
DIC Deutsche Immobilien Chancen AG & Co.

John Levack Drever

2012-01-17T11:50:00.002+01:00

Vortrag
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main

Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.

John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.

This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.

Rundgang 2012

2012-01-13T14:15:00.000+01:00

Beate Söntgen

2011-12-12T13:41:00.003+01:00

Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula

Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.

Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.

Die Veranstaltung findet in englischer Sprache statt.

Beate Söntgen

2011-12-12T13:41:00.001+01:00

Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.

Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.

Die Veranstaltung findet in englischer Sprache statt.

Judith Hopf

2011-12-05T10:30:00.001+01:00

Vortrag
Judith Hopf: Some End of Things
Mittwoch, 7. Dezember 2011, 19 Uhr, Aula

Judith Hopf will talk about her recent series of works with the title: Some End of Things. Alongside her 'research' concerning Endings, Hopf will concentrate on keywords like: Exhaustion, Emancipation and Entrance in order to develop perspectives beyond the hopefully and finally found Ends.

"...The artist's recent work often returns to the idea of exhaustion. She frames this concept in Beckettian terms, considering the Janus-faced possibilities of speaking exhaustively and, conversely, the point at which meaning itself is exhausted. Are you exhausted because of the endless possibilities or because the possibilities have already been exhausted? Hopf's work suggests unexpected modes of resistance to what she has called 'the tyranny of the same'. …" Sam Thorne , Frieze Foundation, 2011

Judith Hopf´s 'Some Ends of Things' were recently exhibited at Galerie Croy/Nielsen, Berlin, Frieze Foundation London, Alex Zachery Gallery, New York and Galerie Andreas Huber, Wien. In 2011 she participated in various groupshows like 'Priority Moments', Herald Street, London, 'Traurige Tiere', Kunstverein Bonn and 'How to Work', Kunsthalle Basel.

Judith Hopf is professor at Städelschule since 2008.

Die Veranstaltung findet in englischer Sprache statt.

Andrea Fraser

2011-11-24T12:07:00.000+01:00

Vortrag
Montag, 28 November 2011, 19 Uhr, Aula
Andrea Fraser

Andrea Fraser’s work is an on-going investigation of what we want from art. She has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees and museum visitors, from the pursuit of prestige to financial investment to sexual fantasy to self-realization. Developing on site-specific and research-based practices that emerged with conceptualism, combined with feminist investigations of subjectivity and desire, her methods are rooted in the psychoanalytic principle that one can only impact structures and relationships in the immediate performance. She is Professor in the Department of Art at the University of California Los Department and is visiting faculty at the Whitney Independent Study Program.

Fraser will speak about her work and the challenge of conceiving any way to participate in the art field that do not seem completely bankrupt and compromised.

Martha Rosler

2011-11-24T12:04:00.002+01:00

Vortrag
Martha Rosler
Freitag, 25. November 2011, 19 Uhr, Aula

Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.

Her work in numerous international solo- and group exhibitions such as the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in Documenta XII, SkulpturProjecte07 in Münster, "That's the way we do it", Kunsthaus Bregenz (2011), and the 12th Istanbul Biennial in 2011. A retrospective of her work, "Positions in the Life World," was shown in five European cities and at the International Center of Photography and the New Museum for Contemporary Art (both in New York).

Rosler has published ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life.

Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat

2011-11-10T11:20:00.002+01:00

Vortrag
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Mittwoch, 16. November 2011, 19 Uhr, Aula

Fergus Henderson (born 1963) is an English chef who founded the St John restaurant in St John St, London. He is often noted for his use of offal and other neglected cuts of meat as a consequence of his philosophy of Nose To Tail Eating. Following in the footsteps of his parents, Brian and Elizabeth Henderson, he trained as an architect at the Architectural Association in London. Most of his dishes are derived from traditional British cuisine and the wines are all French.

Die Veranstaltung findet in englischer Sprache statt.

Ross Birrell / David Harding: You like this Garden?

2011-11-10T11:19:00.002+01:00

Vortrag
Ross Birrell / David Harding: You like this Garden?
Dienstag 15. November 2011, 19 Uhr, Aula

Inviting his own professor from Glasgow, David Harding, to a three-man-show at the Portikus Douglas Gordon initiates his new professor ship at the Städelschule. For about ten years Harding has been collaborating with artist and tutor Ross Birell on poetic Videoworks. In this lecture Birell & Harding will talk about their long standing cooperation and they will reflect on the practice of creating film. There will be an emphasis on triggering the discussion of the coming exhibition at Portikus which will be opening two days later.

Die Veranstaltung findet in englischer Sprache statt.

Consume

2011-11-10T11:17:00.000+01:00

Bar
Consume
Montag, 14. November 2011, 19 Uhr, Lichthalle

Consume is an improvised mobile bar that has no fixed time, location or staff. It may generally be found by word of mouth and operates primarily in the public space, sometimes tied into an art event and at other times by appropriating a part of the city for its own purposes.

The serial Consume bar was initiated in early November 1991 by three architecture students of the Frankfurt Städelschule, Jim Dudley, Christian Pantzer and Tony Hunt, primarily to provide a locus for interaction between the disciplines of art and architecture.
The hardware of the bar, standing as a metaphor for architecture, consists of a Bricolage of junk, essentially an old surfboard which is balanced on crates of beer. As the bar is mobile, at times even self-propelled, the locations become part of software along with the customers with their various alcoholic and musical lubrications.
The classical hierarchy of architecture in relation to its users and location, or Genius Loci, is turned around so that the ultimate shaper is no longer the architect but the throng of the customers themselves. This has been known to be rather unsettling, but we persist.

Christian Pantzer, *1962, Studium an der HfBK Städelschule-
Architekturklasse 1989 - 1993, lebt und arbeitet in Frankfurt.

Tony Hunt, *1964, Studium an der Univeristy of Brighton 1985 - 1988, UCL Bartlett School of Architecture London 1989-1991, HfBK Städelschule Architekturklasse 1991 - 1993, lebt und arbeitet in Frankfurt und London.

Daniel Kohl, *1967, Studium der Bildenden Kunst an der Cooper
Union in New York City 1986 - 1991 und an der HfBK Städelschule 1992 - 1997 bei Thomas Bayrle, lebt und arbeitet in Frankfurt.

James Dudley *1966, Born in Tooting South London. Studied at Bath University, Bartlett school of Architecture, University College London and Stadelschul Architekturklasse 1991-92. Lives and Works in Zurich as a creative director for spatial communication.

TARYN SIMON

2011-10-27T12:05:00.002+02:00

1. November 19 Uhr Aula

TARYN SIMON
A Living Man Declared Dead and Other Chapters, I – XVIII
Contraband
An American Index of the Hidden and Unfamiliar
The Innocents

Taryn Simon was born in 1975 in New York, where she lives and works. Her latest work, A Living Man Declared Dead and Other Chapters, on view in 2011 at Tate Modern, London, and Neue Nationalgalerie, Berlin, chronicles 18 bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. In 2011, Simon’s work was also included in the 54th Venice Biennale. Her previous work includes Contraband (2010), an image archive of items detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces integral to America’s foundation, mythology, or daily functioning but inaccessible or unknown to a public audience; and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice.

Jalal Toufic

2011-10-24T10:35:00.002+02:00

Vortrag
Jalal Toufic: The Withdrawal of Tradition Past a Surpassing Disaster
Dienstag, 25. Oktober 2011, 19h, Aula

With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. In normal times a nebulous entity despite the somewhat artificial process of canon-formation, tradition becomes delineated and specified by the surpassing disaster. Tradition is what conjointly materially survived the surpassing disaster, was immaterially withdrawn by it, and had the fortune of being subsequently resurrected by artists, writers, and thinkers.
Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. Many of his books, most of which were published by Forthcoming Books, are available for download as PDF files at his website: http://www.jalaltoufic.com. He is presently a guest for the year 2011 of the Artists-in-Berlin Program of the DAAD.

This lecture is on the occasion of the publication of the German translation of Toufic’s book The Withdrawal of Tradition Past a Surpassing Disaster (Forthcoming Books, 2009) by August Verlag last month.

Symposium: Reconsidering Site-Specificity

2011-10-14T17:33:00.003+02:00

http://wheninrome-valettamalta.tumblr.com/

Mark von Schlegell

2011-10-12T10:19:00.002+02:00

Lesung
Mark von Schlegell: Beyond the paperback revolution (Jack Vance)
Freitag, 14. Oktober 2011, 19h, Aula
In Kooperation mit Merve Verlag

In the forthcoming Dreaming the Mainstream: Critical Fictions of U.S. Power (Merve Verlag, Berlin) Mark von Schlegell reads Emily Dickinson, Patricia Highsmith, H.P. Lovecraft, Philip K. Dick and others as vanguard agents of the 20th Century paperback revolution. This lecture will shine light on the relatively unknown career of the contemporary U.S. science fiction "grand-master" Jack Vance to speculate on the paperback revolution's history and possible survival in the current crisis of 21st century publishing and the anarchy beyond.

Mark von Schlegell is born in 1967 in New York and lives in Cologne. He is an American science fiction writer and cultural critic. His numerous essays have appeared in magazines such as: "Parkett", "Arttext" and "Flash Art". His most recently published books are “Mercury Station” (2009, Semiotext(e)) and “New Dystopia” (2011, Sternberg Press); and – in German – the essay “Realometer” (2009, Merve) and the sci-fi novel “High Wichita” (2011, Matthes&Seitz).
Since 2011 he is Guest Professor at the Städelschule.

ENCORE

2011-09-20T11:26:00.001+02:00

"ENCORE"
Abschlussausstellung der Absolventinnen und Absolventen 2011 der Staatlichen Hochschule für Bildende Künste - Städelschule im MMK ZOLLAMT.

Eröffnung: Dienstag, 27. September 2011 um 19.30 Uhr im MMK Zollamt
Ausstellungsdauer: 28. September bis zum 23. Oktober 2011
Zur Eröffnung sprechen: Prof. Nikolaus Hirsch und Dr. Susanne Gaensheimer

Zum dritten Mal präsentieren die Absolventen der Staatlichen Hochschule für Bildende Künste – Städelschule ihre Abschlussarbeiten im MMK Zollamt. Die Kooperation unterstreicht die enge Verbundenheit der international profilierten Städelschule mit dem MMK und gibt den
Besuchern einen Einblick in das große künstlerische Potential der Region. Die Ausstellung zeigt die jüngsten Produktionen von 30 Künstlern aus den Klassen von Judith Hopf, Christa Näher, Willem de Rooij, Douglas Gordon, Michael Krebber, Simon Starling und Tobias Rehberger.

Zu sehen sind Arbeiten von:
Patrick Alt, Agassi Bangura, Andrea Bellu, Viola Bittl, Lukas Bohnenstengel, Alfred Boman, Max Brand, Carolin Bühler, Milena Büsch, Annabell Chin, Murray Gaylard, Giorgio Giusti, Dominik Gohla, Sandra Havlicek, Jonas Jensen, Danny Kerschen, Yasuaki Kitagawa, Daniela Kneip Velescu, Annina Matter, Ruairiadh O'Connell, Sabine Rak, Marcel Schiele, Sarah Schoderer, Dan Starling, Beatrice Steimer, Tomislav S. Vukic, Jonas Weichsel, Paul Wiersbinski, Leo Wörner, Naneci Yurdagül, Silja Yvette

aus den Klassen von Christa Näher, Judith Hopf, Willem de Rooij, Michael Krebber, Douglas Gordon, Simon Starling und Tobias Rehberger.

Kurator: Bernd Reiss

Zur Ausstellung wird ein Katalog erscheinen.

Diese Ausstellung wird großzügig unterstützt von
ALLEN & OVERY LLP und STÄDELSCHULE PORTIKUS E.V.

Tradition ist die Verleihung des vom Verein Städelschule Portikus e.V. gestifteten Absolventenpreises, dotiert mit 2000 Euro.

Die Jury, der jedes Jahr andere Mitglieder angehören, setzte sich bei der diesjährigen Absolventenausstellung wie folgt zusammen:
Dr. Claudia Orben-Mäckler (Städelschule Portikus e.V.)
Dr. Susanne Gaensheimer (Direktorin MMK)
Willem de Rooij (Professor für freie Kunst, Städelschule)

Die PreisträgerInnen werden am 27.09. um 19:30 zur Eröffnung der Ausstellung bekanntgegeben.

Flaca / Tom Humphreys

2011-07-18T12:36:00.000+02:00

Flaca / Tom Humphreys

9. Juli – 11. September 2011
Eröffnung: 8. Juli 2011, 20 Uhr Pressegespräch: 8. Juli 2011, 11 Uhr

Der Künstler Tom Humphreys präsentiert im Portikus eine Gruppen- ausstellung, die auf sehr persönliche Weise den Ausstellungsraum Flaca aufgreift, den er in seinem Londoner Wohnhaus von 2003 bis 2007 organisierte, sowie seine eigene künstlerische Position innerhalb dieser Struktur reflektiert. Die Ausstellung Flaca / Tom Humphreys knüpft an die Tradition des Portikus an, die Ausstellungshalle immer wieder neu herauszufordern, zu testen und zu interpretieren. Im Anschluss an die vorherige Ausstellung Time/Bank, bei der das Haus in eine alternative „Bank“ umgewandelt wurde, folgt nun eine neue Umformung: Im Kontrast zur infrastrukturellen Formensprache einer Bank spielt diese Ausstellung auf Vertrautheit und die Initmität des bewohnten Raums an.
Flaca entzieht sich einer einfachen, linearen Beschreibung – allein schon deswegen, weil dort über vierzig Künstler in unterschiedlichsten Konstellationen ausgestellt haben. Das Programm wie auch die einzelnen Ausstellungen entwickelte Tom Humphreys in engem Austausch mit den eingeladenen Künstlern. Dies führte dazu, dass jedes Ausstellungsprojekt seine ganz eigene Besonderheit hatte. Christian Egger schreibt in seinem Katalogtext zur Ausstellung: „Das Ausstellen dort bedeutete oft das Frisch-Sehen-Können der ersten Londoner Einzelausstellungen von eben noch in Flaca angetroffenen Künstlerinnen, und das war tatsächlich alles wirklich aufregend, als ginge es einem selbst ein bisschen wie dem eigenen mitgebrachten Mobiltelefon beim ersten schreckenden Aufladen mit Insel-Strom, irgendwie anders energetisiert – mit Ausfällen flirtend“.
Die Auseinandersetzung mit der Vergangenheit des Ortes Flaca hat Tom Humphreys dazu bewegt, für den Portikus eine Ausstellung zu entwickeln, die in keinster Weise Ansprüche auf eine anschauliche oder historisch korrekte Repräsentation seiner damaligen Tätigkeit stellt, sondern vielmehr zu einer verzerrten Doppelung in der Gegenwart wird. Tom Humphreys hinterfragt die Aktivität dieser Zeit. So haben zum Beispiel einige der eingeladenen Künstler dieser Ausstellung nie bei Flaca ausgestellt. Daneben werden „Originale“, wie die von Michael Beutler und Henning Bohl für Flaca produzierten Werke, mit neueren und eigens für die Ausstellung entwickelten Arbeiten kombiniert, wie etwa Nora Schultz’ Wandstruktur, die ihr selbst als Druckwerkzeug und zugleich der Ausstellung als Hängefläche dient. Die Umgestaltung des Raums durch ein neu eingezogenes Stockwerk und die Einbindung von ungewöhnlichen Ausstellungsorten wie Garten und Treppenhaus, sind Mittel, die den vorgegebenen Raum in Frage stellen und neu interpretieren. Im Rahmen dieser zeitlichen und räumlichen Hybridisierung zwischen Portikus und Flaca wird die Ausstellungsinstitution auf der Maininsel in das Haus am Broadway Market eingeschrieben und umgekehrt.
Tom Humphreys selbst hat für die Ausstellung eine Arbeit produziert, die das Format des Portikusplakats, ein von jedem ausstellenden Künstler individuell entworfenes Poster, aufnimmt. Anstelle eines repräsentativen
Ausstellungsplakats entwarf und produzierte Tom Humphreys eine Serie mit Titeln wie FLACA / PORTIKUS, HOUSE ARREST, REBOUND (2005), und REPRODUCTION und platziert sie im Treppenhaus – dort, wo üblicherweise die Plakate vergangener Portikus-Ausstellungen hängen. Er schafft sich somit einen Platz, der auch bei Flaca kennzeichnend für ihn war: an der Schnittstelle zwischen Gastgeber, Ausstellungsproduzent und Künstler. Tom Humphreys weist mit der Einladung an die Künstler und der Zusammenstellung der Werke einerseits auf eine gemeinsame künstlerische Haltung hin, andererseits versucht er jegliche thematische und formale Klammern zu vermeiden. Das Resultat ist ein organisches Gebilde, das zwar Geschichte erzählt, zugleich aber einen Raum für endlose und unauflösbare Implikationen künstlerischer Arbeit eröffnet.

Mit Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins und Alexander Wolff
Zur Ausstellung wird eine Publikation veröffentlicht. Tom Humphreys hat für den Portikus eine Edition entworfen.

Für weitere Informationen oder Führungen zur Ausstellung wenden Sie sich bitte an info@portikus.de oder melden Sie sich telefonisch unter 069-9624454-0

Der Kulturfonds Frankfurt RheinMain ermöglicht die Ausstellung Flaca / Tom Humphreys, die Teil des mehrjährig angelegten Projektes Art & Life der Staatlichen Hochschule für Bildende Künste – Städelschule ist. Weltweit führende Vertreter aus Kunst, Architektur und Wissenschaft entwickeln hier einen Ansatz, der Kunst und Leben strukturell aufeinander bezieht. Art & Life wird vom Kulturfonds Frankfurt RheinMain seit Oktober 2010 und bis 2013 finanziell getragen.

SIMON STARLING

2011-06-27T11:56:00.001+02:00

Vortrag
Simon Starling - Noh such Thing as Time
Mittwoch, 6. Juli 2011, 19 Uhr, Aula

Taking its title from a essay by the Japanese photographer Hiroshi Sugimoto that investigates the relationship between photography, time and the tradition of masked Japanese Noh theatre, this talk will be based around two of Simon Starling’s recent exhibitions that redeploy the work of other artists. The first, Never the Same River (Possible Futures, Probable Pasts) realised at Camden Art Centre existed somewhere between an artist selected group show and a gesamtkunstwerk and involved reinstalling works shown at Camden over the last 50 years. All these works, that themselves “worry at the borders of our understanding of time”, were repositioned in the exact same spot they had occupied the first time they were shown, creating an unsettling polyphonic or at times cacophonic temporal experience temporal. The second exhibition, Project for a Masquerade (Hiroshima), uses the temporally complex space of Noh theatre, a space in which the ghosts assume human form, the old become young and the young old, as a structure to investigate the complex history of Henry Moore’s sculpture Atom Piece (1964-65). This simple domed form on a rough-hewn tripod has a bizarre double life both as a monument to the beginnings of the atom bomb project in Chicago, Enrico Fermi’s Pile No. 1, and simultaneously as an autonomous work within the context of the collection of the Hiroshima City Museum of Contemporary Art..

SIMON STARLING is born in 1967 in Epsom, UK. In 1977 he buys one second of one minute of one hour in a raffle and wins his first camera. In 1980 he builds his first home-darkroom and in 1992 he is awarded a Master of Fine Arts at Glasgow School of Art. Between 1993 and 1996 he serves as committee member at Transmission Gallery, Glasgow. In 1995 he makes his first solo exhibition at the Showroom Gallery, London for which he reconstructs part of the London exhibition space in Glasgow to use as a studio [An Eichbaum Pils Beer Can…]. In1997 he builds a small fishing boat in Marseille from a museum display case from the National Museum of Scotland, Edinburgh [Blue Boat Black] and makes a chair out of a bicycle and a bicycle out of a chair [Work, Made-ready, Kunsthalle Bern]. In 1998, following a trip to Ecuador to find a balsa tree, he flies a radio-controlled airplane over the Museum of Modern Art at Heidi, Melbourne [Le Jardin Suspendu]. In August 2002 he digs up a large Cereus cactus on the set of the ‘Texas Hollywood Film Studio’ and transports it 2,145 km to Frankfurt am Main, Germany in a red Volvo 240 Estate [Kakteenhaus]. In 2003 he displays an unwanted public artwork in the Palazzo Levi on the Grand Canal as part of Zenomap, Scotland’s contribution to the Venice Biennale [Island for Weeds, Prototype] and starts work as Professor of Fine Arts at the Staedelschule, Frankfurt. In 2004 he is shortlisted for the Hugo Boss Prize and in the following year wins the Turner Prize. In 2008 he makes exhibitions in among other places, a derelict bathhouse in Glasgow, Scotland [Project for a Public Sculpture (After Thomas Annan)], a semi-derelict factory in Dornbirn, Austria [Plant Room] and a fantastically narrow, seven story house in Turin, Italy known as the ‘Fetta di Polenta’ (Slice of Polenta)[Three Birds, Seven Stories, Interpolations and Bifurcations]. In 2011 Starling reinstalls over 30 works from Camden Art Centre’s exhibition history in the exact same place they were originally shown [Never the Same River (Possible Futures, Probable Pasts)] and collapses a 16th century Japanese Noh play onto the complex story surrounding the double life of Henry Moore’s sculpture ‘Atom Piece’ [Project for a Masquerade (Hiroshima)].

Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism

2011-06-23T10:29:00.002+02:00

Konferenz
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
Freitag, 1. Juli 2011, 15-21 Uhr, Lichthof
Initiiert vom Institut für Kunstkritik (Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch)

Many art works today evoke the human figure: Consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This conference seeks to speculate on the reasons as to why, since the turn of the Millennium, we have encountered so many art works that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi´s theory of semiocapitalism – a power technology that aims squarely at our human resources. The participants of this conference are asked to offer possible explanations for this wide acceptance of anthropomorphism – could it be that this is a manifestation of the increasingly desperate desire for art to have agency?

Participants: Hal Foster, Caroline Busta, Michael Sanchez, Ina Blom, Jutta Koether
Respondents: Stefan Deines, Stefanie Heraeus, Magdalena Nieslony, Oliver Brokel

Art and Subjecthood 
The Return of the Human Figure in Semiocapitalism

3 pm Welcome (Nikolaus Hirsch) 
3.30 pm Introduction Isabelle Graw "When Objecthood turns into Subjecthood"
4 pm Hal Foster "Philosophical Toys & Psychoanalytical Travesties: Dolls, Puppets & Mannequins in the 1920s"
5 pm Caroline Busta  “Body Doubles“
6 pm Michael Sanchez “Behavioral: Some Thoughts on Art Under Network Capitalism“
7 pm Ina Blom  "Media Animism. Rachel Harrison's Living Images"
8 pm Jutta Koether „Mad Garlands”

The conference is part of the project „Art and Life“ and made possible by Kulturfonds Frankfurt RheinMain

Tom Humphreys

2011-06-23T10:26:00.003+02:00

Vortrag
Tom Humphreys
Mittwoch, 29. Juni, 19 Uhr, Aula

Tom Humphreys is an artist living in London. From 2003 until 2007, he organised an exhibition programme in his house on Broadway Market, which he titled "Flaca". He invited artists that were close to him in different ways, through their work or through personal relationships. He has been invited to do the upcoming exhibition at Portikus, for which he developed a group exhibition that will somehow question the activities of that time in a new environment, implicating a critical relationship to the past rather than presenting a static historical perspective. He will speak about a variety of things, ranging from his own work to Flaca and his exhibition at Portikus.

The exhibition "Flaca / Tom Humphreys" encompasses works by Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins and Alexander Wolff

Paul Glover

2011-05-23T15:03:00.007+02:00

Vortrag
Paul Glover: Print Your Own Money - Community Currency Systems
Mittwoch, 25. Mai, 19 Uhr, Time/Bank im Portikus

Frankfurt is the European capitol of finance, therefore you should all be rich. Frankfurt-based Deutsche Börse will soon purchase the New York Stock Exchange. So everyone here should have no financial problems. There should be enough money for all your needs. But perhaps you know someone here who has not enough money. Perhaps they are an artist, since most artists typically have not enough money. And many artists have little business sense ...

Even so, because artists are cultural leaders they can become financial leaders. That’s because money is primarily a cultural product. Money often takes the form of official-looking pieces of paper designed by artists. And the credibility of any money depends on cultural messages that validate the institutions claiming power over commerce. So artists can create their own money. And it will not be monopoly money. It will be anti-monopoly money. It will be real money to the extent people trade with it.

Paul Glover is the founder of Ithaca HOURS local currency and author of Hometown Money. He is founder of several other mutual-aid systems for food, fuel, housing, health care.

Richard Wentworth

2011-05-23T15:03:00.004+02:00

Vortrag
Richard Wentworth: Having a baby
Dienstag, 24. Mai, 19 Uhr, Aula

Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuro scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival.

Wentworth looks closely at the present by espousing the past. Looking back enables us to understand why and how we move forward. By excavating history and looking closely at the material ‘now’, Wentworth collates and assembles a vivacious archaeology of the world we live in. He reveals that which is curious, ironic, poetic and slight amidst the clutter of daily living.

Wentworth has recently exhibited in Making Worlds at the Venice Biennale (2009), presented an evolving project – A Confiscation of String- at the Whitechapel Art Gallery (2009) and curated Boule to Braid, for Lisson gallery, London (2009) . His botanical guide, using enamel signs, at the Folkestone Triennial (2008) is now a permanent public work. In 2005, Tate Liverpool presented a comprehensive exhibition including works such as False Ceiling, 1995 and Mirror Mirror, 2003. Wentworth worked closely with Artangel at King’s Cross, London (2002) on An Area of Outstanding Unnatural Beauty. Wentworth is the newly appointed Head of Sculpture at Royal College of Art. He is represented by the Lisson Gallery, London.

Eyal Weizman

2011-05-23T15:03:00.002+02:00

Vortrag
Eyal Weizman: Forensic Aesthetics, the Sequel
Montag, 23. Mai, 19 Uhr, Aula

The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.

In this second of his Forensic Architecture lecture series Weizman will go both forwards and backwards, unearthing some origins of the term and using them to outline a projective practice that constructs arenas and forums - that is future communities of practice - around a set of negotiations with and around things.

Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).

Lucie Stahl

2011-05-14T17:03:00.001+02:00

Vortrag
Lucie Stahl
Mittwoch, 18. Mai, 19 Uhr, Aula

In ihren Plakatarbeiten arrangiert Lucie Stahl selbst verfasste englische Texte gemeinsam mit Alltagsobjekten wie Pfeffermühlen, Flüssigkeiten, Krawatten auf einem Scanner und gießt die daraus resultierenden Inkjet-Prints in Polyurethan ein. In den selbstironischen Kurzkommentaren offenbart sie nicht nur ihre subjektiven Beobachtungen gesellschaftlicher und politischer Ereignisse, sondern gibt auch offen Einsicht in den Wettbewerb unter Künstlerkollegen oder die Hysterie, die der künstlerischen Produktion unterliegt.

Lucie Stahl lebt in Wien. Ihre Arbeiten zeigte sie unter anderem in Einzelausstellungen im Kölnischen Kunstverein (mit Bela Kolarova, 2011), Kunstverein Nürnberg (2009), in der Dépendance, Brüssel (2005 mit Stefan Müller und 2008), der Galerie Michael Neff, Frankfurt (2007) und im Flaca, London (2005). Sie wird vertreten von Dépendance, Brüssel und Galerie Meyer Kainer, Wien. Seit 2008 leitet sie gemeinsam mit Will Benedict den Ausstellungsraum Pro Choice in Wien.

Elizabeth Povinelli

2011-05-14T17:02:00.008+02:00

Vortrag
Elizabeth Povinelli: Time/Banks, Routes/Worlds
Dienstag, 17. Mai, 19 Uhr, Portikus

With the Portikus project, “Time/Bank” as backdrop, Elizabeth Povinelli examines the raveling and unraveling of social worlds as a dynamic relationship between social networks and enclosures. “Time/Banks, Routes/Worlds” begins with a discussion of the anthropology of the gift as a genealogical background to Latour’s network theory and Sloterdjik’s theory of spheres, demonstrating how the circulation of things creates spatial folds in which social worlds emerge and people dwell. In other words, whether gifts of skill-time, ritual objects, humans, or commodities, things do not simply move, they figure space and are figured by space; they are the condition of previous circulatory matrixes and become part of the matrix that conditions what other kinds of things can pass through and be made sense of within this figured space; and they create the deficits and excess out of which new forms of life emerge. Povinelli's ongoing projects - a graphic memoir (old media) and a smart phone based augmented reality program (new media) - examine the relationship among representation, mediation, and the raveling and unraveling of worlds in the context of historical reformations of global capital and state power.

Elizabeth Povinelli is a professor of anthropology and gender studies at Columbia University in New York. She is the author of three books, including "The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality".

Raimundas Malasauskas

2011-05-14T17:02:00.005+02:00

Führung / Guided Tour
Raimundas Malasauskas: The Future of Tradition
Dienstag, 17. Mai, 18 Uhr, Portikus

Raimundas Malasauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.

From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age", David Roberts Art Foundation, London (2009); "Into the Belly of a Dove", Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island", Centre Georges Pompidou, Paris (2010).

Raqs Media Collective

2011-05-14T17:02:00.002+02:00

Vortrag
Raqs Media Collective: A Few Questions Regarding the Quality of Time
Montag, 16. Mai, 19 Uhr, Portikus

Does one time fit all? Can time be equally sliced? Can we trade time? Can we make ourselves understood when we talk to each other in different dialects of time? Do we all have covert and secret clocks that have their alarms go off at odd moments? Does the value of time stay the same when looked at in the light of life and the shadow of death? These questions, some straightforward, some less than obvious, some whimsical, some fantastical - acquire a sharpness and tang in today's world, where, in the aftermath of economic catastrophes, we are all groping for other ways of measuring the worth of the world and our time in it. In their contribution to Time/Bank Raqs provide no easy answers, but lay out the questions we must encounter in the course of any attempt to open an account in the bank of time.

Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory - often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai-CSDS, an initiative they co-founded in 2000. They have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.

THEMROC

2011-05-08T12:24:00.006+02:00

Filmvorführung
Themroc: Screening presented by Time/Bank
Donnerstag, 12. Mai, 19Uhr, Portikus

Time/Bank is pleased to be screening the 1973 cult classic Themroc by director Claude Faraldo. Made on a low budget with no intelligible dialog, Themroc tells the story of a French blue collar worker who rebels against modern society, reverting into an urban caveman.

Themroc (Michel Piccoli) goes to work one morning, the same as every morning, but there's a difference this time - as the day draws on, Themroc realises he's had enough of the same old routine. While up a ladder to paint the outside of an office block, he ogles the secretary being dictated to by his boss, then his boss catches him and calls him into his office. This causes Themroc to snap, and he walks out with plans to send himself back to the stone age. When he gets home, he sets about sealing himself into his bedroom and smashing down the outside wall to create a cave. His anarchy is catching - soon his neighbours from across the street are doing the same and it's not long before the media and the police are taking an interest. Because he is breaking the rules of society, the authorities must find a way of containing Themroc before he starts a trend - his antisocial behaviour is surprisingly attractive to the ordinary people around the city.

RAIMUNDAS MALASAUSKAS

2011-05-08T12:24:00.002+02:00

Vortrag
Raimundas Malasauskas: The Future of Tradition, Guided Tour
Donnerstag, 12. Mai, 18Uhr, Portikus

Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.

From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions “Sculpture of the Space Age,” David Roberts Art Foundation, London (2009); “Into the Belly of a Dove,” Museo Rufino Tamayo, Mexico City (2010), and “Repetition Island,” Centre Georges Pompidou, Paris (2010).

JULIANE REBENTISCH

2011-05-08T12:23:00.005+02:00

Vortrag
Juliane Rebentisch: Participation in Art: 10 Theses
Mittwoch, 11. Mai 2011, 19Uhr, Aula

Participation has become one of the key terms in contemporary art discourse. But what does it mean to participate in art? How does it relate to the political problem of social participation? Can it be equated with the staged interactivity we encounter in much contemporary art practice? And what about the history of aesthetic participation? How do contemporary models of thinking participation relate to the modernist idea that participating in art means partaking in something that posseses universal validity? What became of the modernist assumption that there is an ethical dimension at work in our relation to art works? The lecture will pursue these questions and offer theses to be discussed.

Juliane Rebentisch teaches philosophy at the Johann Wolfgang Goethe-University in Frankfurt/Main. She is a member of the cluster of excellence „Formation of Normative Orders“. Her main research areas are aesthetics, ethics, and political philosophy. Publications include: Ästhetik der Installation (Suhrkamp 2003); Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus (co-ed. with Ch. Menke, Kadmos 2010); in preparation: Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz (Suhrkamp, Jan. 2012).

FRANCO BERARDI

2011-05-08T12:23:00.002+02:00

Vortrag
Franco Berardi (Bifo)
Dienstag, 10. Mai 2011, 19Uhr, Portikus

The main cultural transformation of modern capitalism has been the creation of refrains of temporal perception that pervade and discipline society: the refrain of factory work, the refrain of the salary, the refrain of production line. The digital transition has brought along with it new refrains: electronic fragmentation, information overload, acceleration of the semiotic exchange. Fractalization of time, competition. The essential feature of refrain is the rhythm. Rhythm is the relation of a subjective flow of signs (musical, poetic, gestual signs) with the environment: cosmic environment, earthly environment, social environment. Rhythm is singular and collective. It is singularizing the sound of the world in a special modeling of the environmental sound. But it is able to trigger a process of agglutination, of sensitive and sensible communality. Sometime people start to sing the same song, and to dance the same dance. It can be dangerous, and on this kind of homogeneous subjectivation is based fascism, and modern totalitarianism in general. But it can happen in ironic and nomadic ways. People start to create a new song, and they do it together. That’s a movement.

Franco Berardi, aka “Bifo,” founder of the famous “Radio Alice” in Bologna and an important figure of the Italian Autonomia Movement, is a writer, media theorist, and media activist. He currently teaches Social History of the Media at the Accademia di Brera, Milan.

TACITA DEAN

2011-05-08T12:22:00.002+02:00

Vortrag
Tacita Dean: The Line of Fate
Montag, 9. Mai 2011, 19Uhr, Aula

Berlin-based artist Tacita Dean is trained as a painter and now works in a variety of media, including drawing, photography and sound but is best known for her compelling 16mm films, of which she has made fifteen to date. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. She has also made works about the mechanics of production, which reveal the artifice of cinema.

Her work includes films such as “Fernsehturm” (2001), “Kodak” (2006), “Craneway Event” (2009), “Still Life” (2009) and “Day for Night” (2009). Her solo exhibitions were presented at Guggenheim Museum, New York (2007), Dia Beacon, New York (2007), ACCA, Melbourne (2011) and the Tate Modern in London (2011). Tacita Dean´s forthcoming exhibition is “Line of Fate” at MUMOK in Vienna. She was awarded the Hugo Boss Prize 2007 and the Kurt Schwitters-Preis Award 2009.

Rundgang 2011 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule

2011-04-27T11:51:00.003+02:00

29. APRIL - 1. MAI 2011

Programm download

Eröffnung mit Preisverleihung: Freitag, 29. April, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36

Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei

Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.

Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2010 nahmen mehr als 15.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2011 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.

Highlights:

Freitag, 29. April
19 Uhr Eröffnung und Preisverleihung
Moderation: Graziano Capitta, Mensa
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis
Jury: Clémentine Deliss und Douglas Gordon

22 Uhr Rundgang Party, Daimlerstraße 32
mit Philip Berg, Sergio Casariva, Ata Macias und Michael Satter
Eintritt: 6 €

Samstag, 30. April
14 Uhr Douglas Gordon und Nikolaus Hirsch im Gespräch, Aula

16 Uhr Vortrag: Jan Verwoert "Corruption. Care. Magic." Aula
Beyond the structures of social institutions and the theatre of political representation what other, less visible, or invisible conditions for the production of society can be found in corruption, care and magic? and how could art tap into them?
Jan Verwoert is a writer, based in Berlin, he is a contributing editor of frieze magazine and teaches at the Piet Zwart Institute Rotterdam, the Hamidrasha School of Art, Tel Aviv and the DeAppel Curatorial Programme, Amsterdam. A volume of his collected writings Tell Me What You Want What You Really Really Want has recently been published by Sternberg Press/Piet Zwart Institute.
(Die Veranstaltung findet in englischer Sprache statt)

17 Uhr "Hair of the Dog" Bloody Mary - Piano Bar, Küche Filmklasse

Sonntag, 1. Mai
12 Uhr "Daimler Matinée" Daimlerstraße 32

Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.

Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse

Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.

Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.

Wir freuen uns auf Ihr Kommen!

Der "Rundgang 2011" wird unterstützt von:

Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG

Josef Strau

2011-04-18T14:33:00.002+02:00

Vortrag
Josef Strau
Dienstag, 19. April 2011, 19 Uhr, Aula

Josef Strau, geboren 1957, ist Künstler und Schriftsteller in Berlin.
Er ist Gründer und Organisator der Galerie Meerrettich im Pavillon am Rosa-Luxemburg-Platz in Berlin. 1990 -93 initiierte er zusammen mit Stefan Dillemuth "Friesenwall 120" in Köln. 2010 zeigte er die Ausstellung "The Why Does This All Happen To Me Experience" im House of Gaga, Mexico City und "Vienna and Jerusalem" (mit Martin Guttman), Pro Choice, Wien.

Während der vergangenen Jahre hat Josef Strau an Formen einer unmittelbaren Verbindung von seinen Texten und einigen seiner Ausstellungsobjekte gearbeitet: Für verschiedene Gruppenausstellungen sind so genannte „Leselampen“ entstanden, die auch als eine Art Werbe-Objekt für seine Texte fungieren. Als erste Lampe wurde 2004 die „Das Jahr im Rückblick“-Lampe im Pavillon der Galerie Meerrettich gezeigt. Die „Lampe für einen Baudelaire-Tag in Berlin“ stand 2004 in einer Ausstellung bei Daniel Buchholz in Köln. Auf der Sonderausstellung „Open Space“ der Art Cologne (2005) zeigte Josef Strau in der Präsentation der Galerie Meerrettich die Lampe „Dear Little Tiger“. „Die weiße Leselampe“ wurde schließlich in die von Tobias Buche kuratierte Gruppenausstellung „The Gone Wait“ in der Gagosian Gallery Berlin (2005) integriert.

Josef Strau über Koinzidenz:
“… It is somewhere, and it often becomes coincidences, which decide this starting point - these are also the best texts. The more I work intentionally, the worse the texts become. The more the texts were written on coincidences, the more the texts kept developing. So the coincidence is like the mysterious starting point. (…) I try to avoid the classic authorship (…) it doesn’t mean, that it cannot be autobiographical, but I want somehow the reality which my works refer to, doesn’t not come from me, but from the outside by coincidence…
For some years I didn’t really work as an artist, almost giving up, but then I did Galerie Meerrettich, and then, for many reasons I suddenly became interested in making and producing again, more than I was ever before. There was this writing phenomenon that I really wanted to focus on. (It) was a coincidence as well, (…) I thought, maybe I should try… and then it created this thing, - I’m afraid in a kind of slightly humorous way – about art and economy, dealing with the realities like, that art has a very different economy than writing – you cannot sell text objects as you can sell an art object immediately. I suddenly realized, that I had to look more into this business side of the whole thing as well…”

Die Veranstaltung findet in englischer Sprache statt.

Globe: Rabih Mroué

2011-03-15T11:22:00.004+01:00

Three evenings with Rabih Mroué and friends
Diana Allan (Beirut) Tony Chakar (Beirut) Simon Haber (Beirut) Joana Hadjithomas (Paris) Khalil Joreige (Paris) Lamia Joreige (Beirut) Ziad Nawfal (Beirut)
Maher Abi Samra (Beirut) Scrambled Eggs (Beirut)
Mittwoch, 13. April - Freitag, 15. April 2011, 18 - 24 Uhr

Globe - Art, Music and Performance / Eine Initiative der Deutschen Bank in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

Mittwoch 13. April
17:00 – 19:00 Ziad Nawfal, 96.2 FM Radio Lebanon / live Radio
19:00 – 20:30 Tony Chakar The Eighth Day / Talk
21:30 – 22:30 Rabih Mroué, Make me stop smoking / Lecture performance

Donnerstag 14. April
17:00 – 18:30 Ziad Nawfal, Beirut‘s alternative music scene / Lecture performance
19:00 – 21:00 Simon Haber, The One Man Village / Film
21:30 – 22:30 Rabih Mroué, The inhabitants of images / Lecture performance

Freitag 15. April
18:00 – 19:00 Maher Abi Samra, Lamia Joreige, Diana Allan, Merely Smell, Journey, Still Life / Film
19:30 – 21:00 Joana Hadjithomas & Khalil Joreige, Aida sauve-moi / Lecture performance
21:30 – 22:30 Scrambled Eggs, Jackpot Blues part I + II / Music

Rabih Mroué (born 1967) is an actor, director, playwright, visual artist, and a contributing editor of The Drama Review (TDR) as well as a co-founder and board member of the Beirut Art Center (BAC), Beirut. Recent exhibitions include "I the Undersigned" at BAK (Utrecht, 2010), Performa 09 (New York, 2009), 11th International Istanbul Biennial (2009), "Tarjama/Translation" at Queens Museum of Art (New York, 2009), Sjarjah Biennial (2009), "Soft Manipulation – Who is afraid of the new now?" at Casino Luxembourg (2008) and "Medium Religion" at ZKM (Karlsruhe, 2008). Mroué lives and works in Beirut.

Rabih Mroué engages with cultural and political processes.
His meticulously staged theatrical performances
and videos explore relationships between different artistic
languages and the interaction between performer and
audience. For “Globe” Mroué invited his friends from Beirut.
Alternative Sounds characterize Ziad Nawfal’s live
broadcast for Radio Lebanon and a concert by Scrambled
Eggs, one of the most distinguished young Beirut rock
bands. Films by Simon Haber, Maher Abi Samra, Lamia
Joreige, and Diana Allan will be shown, and a performance
by the filmmakers Joana Hadjithomas and Khalil Joreige
will be staged. The program moreover includes lectures
by Rabih Mroué and a talk by the artist, architect, and
essayist Tony Chakar.

Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank Towers. Each week will be shaped by a different international artist and his or her guests.

Die Veranstaltungen finden in englischer Sprache statt.

Weitere Informationen unter
www.db.com/globe
und
www.db-artmag.de/en/64/feature/globe-for-frankfurt-and-the-world-the-art-and-performance-progr/

Globe: Ei Arakawa

2011-03-15T11:16:00.003+01:00

Reorienting Orientationalism, New Directions (Haircolour) International Class 2011
Mit Henning Bohl (Berlin) Yuki Kimura (Kyoto) Q Takeki Maeda (Berlin/Kyoto) Mélanie Mermod (Paris) Ken Okiishi (New York City) Carissa Rodriguez (New York City) Sergei Tcherepnin (New York City)
Mittwoch, 06. April - Freitag, 08. April 2011, 18 - 24 Uhr

Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

Mittwoch 06. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 January 2011 Tokyo / Film
20:00 – 20:30 Ei Arakawa, Carissa Rodriguez, The One Inside (Spring Version) / Performance & Installation
20:30 – 00:00 Ken Okiishi, Ei Arakawa, Henning Bohl, Carissa Rodriguez, Sergei Tcherepnin,Yuki Kimura, Q Takeki Maeda, Mélanie Mermod / Performance

Donnerstag 07. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition Carissa Rodriguez, Left Over | Exhibition
19:00 – 20:00 February 2011 Mito / Film
20:00 – 20:45 Ei Arakawa, Henning Bohl, Sergei Tcherepnin, Reorienting Orientationalism, New Directions (haircolour), International Class 2011 / Performance & Music
20:45 – 00:00 Programm vom 06.04, For the program on April 6

Freitag 08. April
17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei Tcherepnin, Left Over / Exhibition Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 March 2011 Osaka / Film
20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, True Urgent Talk / Performance & Installation
20:45 – 00:00 Programm vom 06.04, For the program on April 6

Ei Arakawa‘s performances move between action and
ceremony. With different materials such as video films,
banners, and posters, which “illustrate” choreographies,
he creates situations in which the boundaries between
actor and audience disappear. In Frankfurt, he and his
friends will articulate the cultural and aesthetic transfer
between Japan and the Western art scene. All guests
recently visited Japan in order to develop this project.
The program consists of performances, talks, concerts,
and films by the artists Henning Bohl, Carissa Rodriguez,
Q Takeki Maeda, Yuki Kimura, Mélanie Mermod, Ken
Okiishi, and the New York composer Sergei Tcherepnin.
It will be supplemented by daily changing exhibitions and
a project on the legendary Japanese artists’ group Jikken
Kobo from the early 1950s.

Die Veranstaltungen finden in englischer Sprache statt.

Globe: Cao Fei

2011-03-15T11:10:00.002+01:00

A Three Days Treatment
Mit Daniel Birnbaum (Stockholm)
Cao Chong’en (Guangzhou/Vancouver)
He Yufan (Beijing)
Nikolaus Hirsch (Frankfurt am Main)
Huang He (Guangzhou)
Huang Shan (Guangzhou)
Jiang Jun (Beijing)
Jiang Zhi (Beijing/Shenzhen)
Zafka Zhang (Beijing)
Zhang Wei (Beijing/Guangzhou)
Mittwoch, 30. März - Freitag, 01. April 2011, 18 - 24 Uhr

Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

Mittwoch 30. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf
19:30 – 21:30 Cao Chong‘en, Clay & Belief / Live Sculpturing
22:00 – 23:30 Cao Fei, Father / Film

Donnerstag 31. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, Coffee Yoga - Class Two: Double Espresso
20:00 – 21:15 Nikolaus Hirsch, Daniel Birnbaum, Cao Fei, Zhang Wei, Jiang Zhi, The Pavilion / Talk
21:45 – 22:30 Jiang Zhi, Moment / Film

Freitag 01. April
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 Coffee Yoga – Class Three: Black Coffee
20:00 – 21:00 Huang Shan, Huang He / Fengshui Performance
21:30 – 22:30 Cao Fei, i Mirror, Live in RMB City / Film
23:00 – 00:00 Zafka Zhang | Music

In her installations, Cao Fei combines influences of global
pop culture with elements from the Peking Opera and
dance. She works with film and animation, as well as on the
internet. She realized her project RMB City on “Second Life”,
as a utopian city where avatar China Tracy acts. For “Globe”
Cao Fei will introduce a completely new artistic practice:
visitors can practice coffee yoga with China Tracy and experience
what the Frankfurt School and Zen have in common.
In addition to the performance Two as One by He Yufan
and Jiang Jun the program includes a live sculpturing by
Cao Chong'en, music by Zafka Zhang, a Fengshui-performance
by Huang Shan and Huang He as well as the discussion
The Pavilion. Cao Fei talks with Daniel Birnbaum,
director of the Moderna Museet, Nikolaus Hirsch, rector
of the Städelschule, Beijing artist Jian Zhi and Zhang Wei,
director of Vitamin Creative Space, Guangzhou.

Die Veranstaltungen finden in englischer Sprache statt.

Globe: Keren Cytter

2011-03-15T11:03:00.001+01:00

Fear, Fun and Fire
Mit Charles Arsène-Henry (London) Diedrich Diederichsen (Berlin/Wien) Andrew Kerton (Berlin) Philipp Kleinmichel (Berlin) Dafna Maimon (Berlin) Maria and the Mirrors (London) John Maus (Minneapolis) Susie Meyer (Berlin) Fabian Stumm (Berlin)
Mittwoch, 23. März - Freitag, 25. März 2011, 18 - 24 Uhr

Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

Mittwoch 23. März
19:00 – 19:45 Charles Arsène-Henry / Lecture performance
20:30 – 22:00 Keren Cytter, Don‘t touch me psychopath / Film (Premiere)

Donnerstag 24. März
19:00 – 19:45 Diedrich Diederichsen / Talk
20:15 – 20:45 Andrew Kerton & Dafna Maimon / Performance (Premiere)
21:30 – 22:30 Maria and the Mirrors / Music

Freitag 25. März
19:00 – 19:45 Philipp Kleinmichel / Talk
20:15 – 20:45 Keren Cytter, Showreal / Performance (Premiere)
21:30 – 22.30 John Maus / Music

The Israeli artist Keren Cytter shoots videos, choreographs dance performances, writes novellas, and has even penned an opera libretto. Her film works deal with human relationships and plumb the depths of the human psyche. They are assemblies of high- and pop-cultural quotations, citing classic movies, experimental films, and YouTube clips in equal measure. Cytter represents a young generation of artists who break all genre boundaries. Her three events are each devoted to one state or element under the motto "Fear, Fun and Fire." The author Charles Arsène-Henry and the premiere of Cytter's horror movie Don't Touch Me Psychopath instill fear. Critic and author Diedrich Diederichsen, the London punk band Maria and the Mirrors, and the performers Andrew Kerton and Dafna Maimon provide joy. The performers Susie Meyer and Fabian Stumm, cultural theorist Philipp Kleinmichel, and the music of underground star John Maus ignite.

Die Veranstaltungen finden in englischer Sprache statt.

Globe: The Otolith Group

2011-03-15T10:32:00.003+01:00

A Sunken Trembling, Recollected Dimly
Mit Lise Autogena, Rayya Badran, Justin Barton, Dopplereffekt, Mark Fisher, Reza Negarestani, Brian W. Rogers
Mittwoch, 16. März - Freitag, 18. März 2011, 18 - 24 Uhr

Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

Mittwoch, 16. März
18:00 – 18:30 NASDAQ: Vocal Index / Film
18:30 – 19:00 Samuel Stevens: Atlantropa / Film
19:00 – 20:00 Peter Hutton: At Sea / Film
20:00 – 21:00 Lise Autogena & The Otolith Group: Abstraction and System in an Age of Recessional Aesthetics / Talk

Donnerstag, 17. März
18:00 – 18:20 Brian W. Rogers, Nilofar Naraghi, Nazanin Naraghi, Aab va Garmaa / Film
18:30 – 19:00 The Otolith Group: Hydra Decapita / Film
19:00 – 20:00 The Otolith Group & Brian W. Rogers: Geoaesthetics, Terracentricity, Hydropolitics and Petropolitics / Talk
22:00 – 22:45 Werner Herzog: Lessons of Darkness / Film

Freitag, 18. März
18:00 – 18:30 The Otolith Group: The Secret King in the Empire of Thinking / Audio-essay
18:30 – 19:20 Mark Fisher: Radar Traces / Audio-essay
19:30 – 20:00 Mark Fisher & Justin Barton: LondonunderLondon / Audio-essay
19:30 – 20:00 Rayya Badran: (In)action / Audio-essay
21:00 – 22:00 Raya Baddran, Mark Fisher, Justin Barton & The Otolith Group: Radiophonic Terrains / Talk
22:00 – 22:45 Dopplereffekt / Concert

The films, curatorial projects, discussion platforms and publications of The Otolith Group explore the accumulated science fictions of the present in order to reflect upon the powers and capacities of historical futures. Founded in London in 2002, The Otolith Group consists of artist Anjalika Sagar and artist and writer Kodwo Eshun who teaches at Goldsmiths College in London and is the author of "More Brilliant than the Sun: Adventures in Sonic Fiction". The artists take their name from the otoliths – the calcium carbonate micro-crystals found within the inner ear that are responsible for balance. Their work was shown in solo exhibitions such as "A Long Time Between the Suns: Part I and Part II" (Gasworks and The Showroom, London, 2009) and "Thoughtform" (Macba Barcelona, 2011). Group exhibitions include Manifesta 8: The European Biennal of Contemporary Art, Murcia, (2010), Universes in Universe: 29th Sao Paolo Biennal (2010), the 7th Shanghai Biennale (2008), 2nd International Biennial of Contemporary Art of Seville (2006) and New British Art: Tate Triennial (2006). In 2010, The Otolith Group was nominated for the Turner Prize.

For "Globe" The Otolith Group has composed a program consisting of films, talks, audio-essays and a concert. Invited artists include Lise Autogena, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran, artist Justin Barton, critic, theorist, blogger and author Mark Fisher, Reza Negarestani, and legendary electronic music group Dopplereffekt.

Die Veranstaltungen finden in englischer Sprache statt.

GLOBE

2011-03-03T11:08:00.000+01:00

Apparatjik, Ei Arakawa, Cao Fei, Keren Cytter, Rabih Mroué, Planningtorock, The Otolith Group
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij

2. März - 15. April 2011, Mittwoch - Freitag, 17 - 24 Uhr
im Erdgeschoss der Deutsche Bank Türme, Taunusanlage 12, 60325 Frankfurt

Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that will unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank towers. Each week will be shaped by a different international artist and his or her guests.

Apparatjik

Mittwoch, 2. März
17:00 – 18:00 apparat tv
18:00 – 19:00 Louise Lockwood, Parallel Worlds Film
19:00 – 19:30 Blacksmoke, The Danger Global Warming project Film
19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining Creativity. Creating Sustainability Talk
20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark Film (Premiere); On Multiverses, an interview with Max Tegmark Film (Premiere)
22:00 – 23:00 Ipad Disco Combat Performance (Premiere)

Donnerstag, 3. März
17:00 – 19:00 apparat tv
19:00 – 20:00 Laura Anderson Barbata, 21st Century Living in the Amazon: In the Order of Chaos Talk
20:00 – 21:00 Bruce Parry, Amazon, Survival International, Mine – Story of a Sacred Mountain, The Things They Said Film
21:00 – 22:00 Apparatjik, Laura Anderson Barbata & Linda Poppe Talk
22:00 – 23:00 Blacksmoke, The Danger Global Warming project Film

Freitag, 4. März
17:00 – 18:30 Lucy Walker: Waste Land Film
19:00 – 20:30 Holger Hagge, Nikolaus Hirsch, Joseph Grima, Building Cubes Talk
21:00 – 22:00 Talk Apparatjik, Holger Hagge, Nikolaus Hirsch & Joseph Grima
22:00 – 23:00 Apparatjik Ipad Disco Combat Performance

Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental platform and collaborates with media technicians, designers, and scientists. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective as artistic director on special occasions.

Apparatjik's live debut took place in 2010 at the Berlin club WMF in a cube inspired by László Moholy-Nagy's legendary Light-Space-Modulator. Live Guests of Apparatjik are Mexican artist Laura Anderson Barbata; Linda Poppe, Survival International Germany; Holger Hagge, chief architect at Deutsche Bank; Nikolaus Hirsch, rector of Städelschule, Joseph Grima, editor-in-chief Domus magazine; and musician Erik Ljunggren.

Die Veranstaltungen finden in englischer Sprache statt.

Programm download

Natascha Sadr Haghighian

2011-01-15T12:10:00.002+01:00

Vortrag
Natascha Sadr Haghighian: looking awry - the geometry of a cross-eyed subject
Dienstag, 18. Januar 2011, 19 Uhr, Aula

„Recently it seemed necessary to reconstruct situations geometrically in order to understand why I sometimes suddenly start going cross-eyed in a strange sort of way. Not that I am seeing double; instead, a hole develops exactly in the middle of my field of vision. It permits me to look only at the margins of an event. What kinds of events do this to my vision and what happens on the margins of a visual event? This presentation tries to recap a few examples of such situations and discuss a potential practice of the cross-eyed subject.“

Natascha Sadr Haghighian was born in Sachsenheim, Germany in 1968 and lives and works in Great Britain. In 1985 he emigrated to the U.S.A. to set up a ranch. There he fell in love with a Drag Queen, with whom he still lives together. He has been working since 2002 as a freelance artist and living in the Cotswolds, Great Britain. Through his lover he discovered, and in time conquered the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things. (This biographical note is borrowed from www.bioswop.net)

Die Veranstaltung findet in englischer Sprache statt.

Atarimae-No-Koto (a matter of course)

2011-01-14T15:09:00.000+01:00

Performance
Sadaharu Horio & KUKI: "Atarimae-No-Koto (a matter of course)"
Mi. 02.02.2011 19:00, Frankfurt LAB, Schmidtstr. 12, Frankfurt am Main

Eröffnung
Mittwoch 2. Februar 19-21h

Performance
Donnerstag 3. Februar 19-21h

Performance
Freitag, 4. Februar 17-19h

Performance
Samstag, 5. Februar 17-19h

Performance
Sonntag, 6. Februar 15-19h

Als Mitglied der legendären Avantgarde-Bewegung Gutai arbeitet der japanische Künstler Sadaharu Horio seit vielen Jahren unter dem allgemeinen Topos “Atarimae-no-koto” (a matter of course). Im Rahmen der Frankfurter Positionen 2011 entwickelt er ein Objekt, das sich als papierenes Faltbild umschreiben ließe. Den Prozess dorthin präsentiert er über fünf Tage hinweg gemeinsam mit Assistenten seines Teams „KUKI“. In einer Folge von Performances ohne im Voraus exakt festgeschriebene Abläufe, aber immer in konkretem Bezug auf den Raum und dessen Bedingungen bildet sich allmählich das Kunstwerk heraus. Die einzelnen Entstehungsphasen vom Falten eines Papiers in raumgreifendem Format bis zu experimentellen Formen des Farbauftrags werden für das Publikum sichtbar gemacht.

The Frankfurt Conversation

2011-01-14T14:49:00.000+01:00

Sonntag, 30. Januar 2011, ab 16 Uhr
im Chagallsaal Schauspiel Frankfurt

The Frankfurt Conversation
Hans Ulrich Obrist & Nikolaus Hirsch
Ein Projekt der Städelschule im Rahmen der Frankfurter Positionen 2011 - eine Initiative der BHF-BANK-Stiftung
Nach dem Vorbild des Serpentine Marathon, wie er seit 2005 in London und andernorts stattfindet, inszeniert der Kurator Hans Ulrich Obrist gemeinsam mit dem Städelschule-Rektor Nikolaus Hirsch "The Frankfurt Conversation". Frankfurterinnen und Frankfurter aus Kunst, Kultur und Wissenschaft werden jeweils eine Etappe des Gesprächs-Marathons übernehmen.
Hans Ulrich Obrist entwickelte die Idee zum inzwischen etablierten Interview-Marathon als experimentelle Form eines öffentlichen Events, das durch sein offenes Konzept eine Verknüpfung von Vortrag, Diskussion und Performance erlaubt. Der hybride Mix von Persönlichkeiten und ihren Präsentationsweisen lässt die verschiedenen Inhalte miteinander korrelieren und eröffnet neue Zusammenhänge.
Mit der Frankfurter Version eines Dauer-Gesprächs setzt Hans Ulrich Obrist jenes offene Format fort, das als Programm für die Serpentine Gallery Pavillion Commission entwickelt wurde: Seit 2000 präsentiert jährlich ein international renommierter Architekt oder Designer für die Dauer von drei Monaten seine Arbeit. – Ein Konzept, das von der Serpentine Gallery-Direktorin Julia Peyton-Jones veranlasst wurde und als regelmäßige, aber temporäre Struktur die Plattform für künstlerischen wie intellektuellen Austausch bietet. Dementsprechend fand der erste Londoner Gesprächs-Marathon unter Mitwirkung von Rem Koolhaas statt (2006), dann der so genannte Experimental Marathon (2007), Manifesto Marathon (2008), Poetry-Marathon (2009) sowie ein Mini-Marathon in Peking (Jahreswechsel 2008/2009) und Marathon Marathon in Athen (2010).

Boris Buden

2011-01-11T09:54:00.001+01:00

Forensic Aesthetics: Vortrag
Boris Buden: History is a corpse
Donnerstag, 13. Januar, 19 Uhr, Aula

The lecture reports on a case study in which a means of architectural visualisation are deployed to forensically analyse the historical process of desecularization. The method is highly rhetorical and can be directly translated into the liberal theory of secular state. One looks into history with a sort of forensic interest, as into a corpse that can provide useful information for the court proceedings.
Boris Buden is a writer and cultural critic based in Berlin. He received his PhD in cultural theory from Humboldt University in Berlin. In the 1990s he was editor of the magazine Arkzin in Zagreb. His publications cover the topics of philosophy, politics, cultural and art criticism. Recently published: Zone des Übergangs, Frankfurt/Main (2009).

Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.

Anselm Franke

2011-01-11T09:53:00.000+01:00

Forensic Aesthetics: Vortrag
Anselm Franke: Boundary Studies - Are there Criteria for the Communication with Things?
Mittwoch, 12. Januar, 19 Uhr, Aula

What is the role of aesthetic processes in drawing the boundaries between what counts as "subjects" or "persons", and "things"? Against the backdrop of a long-term research and series of exhibitions on Animism, Franke will explore different models of accounting for, variously, the "agency", the "social life", or the "language" of things. What are the political blind spots in the divergent protocols that account of things and their role in socio-technologhical networks? What are the models of mediation?

Anselm Franke is a curator and critic based in Berlin and Brussels. From 2006- 2010, he was Director of Extra City Kunsthal Antwerp, Belgium, where he curated exhibitions such Animism (2010-2012), Mimétisme (2008) and Sergei Eisenstein: The Mexican Drawings (2009). Previously, he was curator of KW Institute for Contemporary Art in Berlin, where he co-organized exhibitions such as Territories (2003-2004) and the collaborative project No Matter How Bright the Light, the Crossing Occurs At Night (2006). He was a co-curator of Manifesta 7 in Trento, Italy, in 2008, and is part of the curatorial team of the Forum Expanded of the International Filmfestival Berlin since 2005. He is a guest lecturer at the HISK in Gent, among others, and currently completes his PhD at Goldsmiths College in London.

Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.

LEONARD KAHLCKE

2010-12-08T23:48:00.011+01:00

Performance
"Tokat"
21.01.2011, 19:00h
Ort: Stiftstrasse 34, Frankfurt am Main

Konzeptuelle Herangehensweisen spielen in den interdisziplinären
Arbeiten von Leonard Kahlcke eine wichtige Rolle. Die zunehmende Relevanz der Ästhetisierung in allen Lebensbereichen ist für den Künstler zentral, denn hierin liegen für ihn Formen und Potentiale für symbolischen und politischen
Widerstand. Geschickt infiltriert und attackiert er gesellschaftliche
Normen und deren ästhetische Codes, indem er die herrschenden Codes auch ästhetisch kontert. Diese Taktik ist stilbildend für Kahlckes Werk.
In der performativen Installation für New Frankfurt Internationals
setzt sich Kahlcke mit der Architektur und der
Bedeutung von zentralen und repräsentativen Plätzen der
Innenstadt auseinander. Fotos von Jugendbanden der 1980er
und 1990er Jahre, die er innerhalb der Szene recherchiert hat,
stellt er eigens angefertigte, aktuelle Fotografien von „Repräsentationsarchitektur“
gegenüber. Kahlcke macht in einer narrativen Schau die Phänomene repressiver Raumaneignung visuell erfahrbar. Hierzu Kahlcke: „Es geht um den Wandel der Metropole, die repräsentierende Dominanz von Architektur und Mensch, Zugehörigkeit und Nichtzugehörigkeit, sowie den Machtanspruch auf zentrale Räume der Stadt – oder besser, warum der Kampf um die Innenstadt wichtig ist.“

Leonard Kahlcke wurde 1975 in Frankfurt a. M., Deutschland geboren.Er studierte an der Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M.

CLAUS RICHTER

2010-12-08T23:45:00.002+01:00

Performance
"The Dog, that knew too much"
4. Februar 2011, 19Uhr
MA* ehemalige Diamantenbörse
Stephanstraße 1 – 3

Richter performt üblicherweise in Kooperation mit Oliver Husain
und Sergej Jensen. Für New Frankfurt Internationals entwickelt
er eine grelle Mini-Solo Show, gespielt mit Hundehandpuppen,
die nur von ihm selbst handelt.
Die Geschichte dreht sich ganz um die abenteuerlichen,
absurden und traurigen Momente, die der gestresste Künstler
an einem Arbeitstag erlebt, besonders im Bezug zu Auftraggebern,
Kuratoren und Galeristen.
Hitzige Diskussionen und konträre Standpunkte werden
auf Hundeart ausgetragen und mit kleinen Kunststücken untermalt.
Eingefasst ist die Performance in ein aus Pappmasche
gebautes Bühnenbild, welches an die flüchtige TV-Entertainmentindustrie
erinnert.
Richters bekanntes Muppetshow-Faible, welches auch seine
früheren Arbeiten inspirierte, nutzt er geschickt, um spielerisch
und phantasievoll Problematiken des Kunstbetriebes
aufzuzeigen. Hierbei werden Hierarchien unter den Künstlern
oder die eigene Glaubwürdigkeit subversiv pointiert. Beware
of the dogs!

Claus Richter wurde 1971 in Lippstadt, Deutschland geboren. Er studierte an der
Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M. und Köln.

MICHELE DI MENNA

2010-12-08T23:42:00.005+01:00

Performance
"A performance of motions in large proportions"
29.01.2011, 19:00h
Nur mit Anmeldung unter post@fkv.de
Ort: MesseTurm
60308 Frankfurt

Performance, Skulptur, Text, Collage, Video und Klanginstallation
umkreisen sich in der Kunst von Michele Di Menna, formen
gemeinsam und doch für sich mögliche Welten, in denen die
Künstlerin stets alleinige Protagonistin bleibt – eine Dirigentin
der Form der Dinge, die kommen. Während einige Elemente
ihrer Installation aus festen Materialkomponenten bestehen,
ergibt sich ein Gesamtbild von Flüchtigkeit in Di Mennas Performances,
bei denen alle Elemente Verwendung finden. Von
den Performances bleiben die Kostüme, Skulpturen, Collagen
und Videos sowohl als Überreste vergangener Ereignisse
zurück, als auch als eigenständige Objekte. So funktionieren
die Environments der Künstlerin als flüchtige Erscheinungsformen
eines von Bewegung beherrschten Schaffensprozesses.
Michele Di Menna inszeniert komplexe Situationen, mit
denen sie die Beziehung zwischen menschlichem Körper und
Kommunikation in den Grenzen des architektonischen Raums
auslotet. In ihrer Performance für New Frankfurt Internationals
plant Di Menna die ephemere Erkundung eines mysteriösen
Vorgangs im berühmten Frankfurter Messeturm.
Die Künstlerin wird u. a. den absurden Prestige-Kampf in
modernen Metropolen um die Höhe von Hochhäusern thematisieren.
Ihr besonderer Fokus gilt den architektonisch-spekulativen
Freiräumen, in dem die Kultur auf Ökonomie trifft und
in zweckentfremdeten Spitzaufbauten, wie Antennen, Pyramiden
und aufeinandergestapelte Klimanlagen ihren Ausdruck
finden.

Michele di Menna wurde 1980 in Vancouver, Kanada geboren. Sie studierte am Emily Carr Institute of Art and Design, Vancouver und an der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Berlin.

Mit besonderen Dank an: MesseTurm Frankfurt am Main

MICHAEL RIEDEL

2010-12-08T23:40:00.005+01:00

Performance (mit Daniel Baumann)
„Antrittsrede als neuer Direktor des Frankfurter Kunstvereins 2008”
7.01.2011, 19:00h
Ort: „Oskar-von-Miller Strasse 16“ (Mainzer Landstr. 105, HH)
60329 Frankfurt

2000 gründete Michael Riedel mit Denis Loesch den mittlerweile
legendenumwobenen Ausstellungsraum Oskar-von-Miller
Strasse 16 an gleichnamiger Stelle in Frankfurt, der Ort
an dem auch die Freitagsküche begann. 2006 wurde das Gebäude
abgerissen, was zu einem vorübergehenden Ortswechsel
nach Berlin führte, wo die Oskar-von-Miller Strasse 16 in der
Weydinger Strasse 20 in Berlin-Mitte zu finden war. Seit Anfang
dieses Jahres ist Michael Riedel wieder in Frankfurt.
Für die Ausstellung New Frankfurt Internationals findet in
dem neuen Ausstellungshaus in der Mainzer Landstrasse 105
noch einmal seine Antrittsrede als neuer Leiter des Frankfurter
Kunstvereins statt, die er gemeinsam mit Daniel Baumann am
09. Oktober 2008 im FKV gehalten, und darin eine Neuausrichtung
der Institution Kunstverein formuliert hat.

Michael Riedel wurde 1972 geboren. Er studierte an der Kunstakademie Düsseldorf; der Städelschule, Frankfurt a. M. und
der École Nationale Supérieure des Beaux-Arts, Paris. Er lebt und arbeitet in Frankfurt a. M. und New York

ADRIAN WILLIAMS

2010-12-08T23:36:00.004+01:00

Performance
"At Hand – episode one"
11.12.10, 19:00h
Ort: MMK Vortragssaal

Adrian Williams‘ Arbeiten erzählen Geschichten in Form von
Performances, Tonstücken, Interventionen, Filmen, Objekten
und Papierarbeiten. Sie erfindet fiktionale Charaktere und
bettet diese teilweise in wirkliche Situationen ein. In ihren Performances
verbinden sich Filme, Texte, Sprache, Geräusche,
Musik und Sound. In Zusammenarbeit und Interaktion mit einem
Komponisten, Musikern, einem Geräuschemacher, der mit Hilfe
von Gegenstände und Aufbauten Geräusche imitiert, sowie
einem Schauspieler vertont sie live die Kurzgeschichte At Hand.
Dieses Stück schildert die spannende Geschichte eines
fiktiven Protagonisten, dessen Gepäck am Frankfurter Flughafen
verloren geht, sowie seine Suche und Versuche, dieses Gepäckstück
wiederzubekommen. Der Titel At Hand deutet darauf hin,
dass etwas bevorsteht oder passiert, wie die Performance
selbst oder aber die hierbei erzählten Ereignisse, die vor allem
jene Momente kurz vor einer Begebenheit beschreiben.
Während Williams die Geschichte erzählt, reagieren die
Musiker und der Foley-Editor klanglich darauf und steigern so
die Dramaturgie. At Hand basiert auf der Transkription einer
sechsteiligen Serie, die Adrian Williams in diesem Jahr über sechs
Monate hinweg in einer einstündigen Radiosendung erdachte,
erzählte und performte. At Hand – Episode One ist der erste Teil
dieser Serie.

Adrian Williams wurde 1979 in Portland, Oregon, USA geboren.
Sie studierte an der Pacific North-west College of Art ,Portland, Oregon,USA; der Cooper Union School of Art, New York und
der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Frankfurt a. M.

MARIA LOBODA

2010-12-08T23:32:00.006+01:00

Performance
"that obscure object (The bad boys of Harvard)"
10.12.10-13.02.11
Ort: entlang der Braubachstrasse, Frankfurt a.M.

Foto: Axel Schneider

Als "The bad boys of Harvard" wurde eine Gruppe von jungen Landschaftsarchitektur-Studenten um Garrett Eckbo und James Rose in Harvard in den 30ern bezeichnet, welche in ihrer Arbeit stark von Gropius, Malevitsch und Moholy Nagy beeinflusst wurden.
Sie widersetzen sich der, bis dato, klassischen Auffassung von amerikanischer Landschaftsarchitektur, dem "Beaux-Art Movement" welches eine dekorative Umsetzung bevorzugte und gelten bis heute als Pioniere eines modernen, radikaleren, sozial orientierten Designs.
James Rose wurde für seine progressiven Ideen von Indoor-Outdoor Gärten sowie einem Schwerpunkt auf geometrischem Design aus Harvard ausgewiesen.
In ihrer neuen in situ Arbeit "The bad boys of Harvard" beschäftigt sich Maria Loboda mit der Idee von radikalen Landschaftsarrangements, sowie der surrealen Ebene welches ein "continuity mistake", eine Erscheinung aus der Filmkunst, die durch Anschlussfehler in der Szenenkoordination oder der Schnitttechnik entsteht, mit sich bringt.
Mehrere, geometrisch geschnittene Buchsbäume, eigentlich ein bourgeoises Symbol, bewegen sich, im wöchentlichen Rhythmus, im öffentlichen Raum um das MMK und den Frankfurter Kunstverein, als eine Art "Wald in Bewegung" - eine "Gang" welche ihre passive Rolle als dekorative Gartenelemente durch Veränderung ihrer Standortes aufgeben und sich der Architektur des öffentlichen Raum in den Weg stellen.
Diese Performance „in flux“, entwickelt ihre Narration schrittweise über die gesamte Ausstellungsdauer. Durch die Veränderung der Position der Protagonisten; der Buchsbäume, spielt Maria Loboda ebenfalls auf die Fehler im Ablauf einer Choreopraphie an.
Bricht der „continuity mistake“ in den Alltag ein, werden die Grenzen von Realität und Fiktion in Frage gestellt. Der Gedanke des Kontrollverlustes über die Phänomene des Alltags, die Erfahrung, dass das „Ich nicht Herr im eigenen Haus ist“ (Sigmund Freud), die Eröffnung eines surrealen Raumes im Stadtraum, ermöglicht dem Betrachter, seine eigene Narration im Verhältnis zu Zeit und Ort neu zu erleben.

Maria Loboda wurde 1979 in Krakow, Polen geboren. Sie studierte an der Städelschule. Sie lebt und arbeitet in Berlin.

Mit besonderen Dank an: Baumschule Peselmann, Bad Homburg

VASIF KORTUN

2010-11-15T10:13:00.002+01:00

Vortrag
Vasif Kortun: Instituting Now [in istanbul]
Dienstag, 30. November 2010, 19 Uhr, Aula

Vasif Kortun is a writer, curator and teacher in the field of contemporary art. He is the founding director of Platform Garanti CAC a non-profit contemporary art institution with an extensive library, documentation center, artist archives, exhibition space and an international residency program for artists, critics and curators. He also founded Proje4L, Istanbul Museum of Contemporary Art [2001- 2003], where he curated seminal exhibitions of artist from Turkey. The first director of the Museum of the Center for Curatorial Studies at Bard College [1994 and 1997], he organized the first U.S. museum exhibitions of artists like Kara Walker, Nedko Solakov and Boris Mikhailov. Vasif Kortun was the chief curator of the 1992, and co-curator of 2005 Istanbul Biennials; a co-curator of Sao Paolo [1998], Second Ceramics Biennial [Albisola, 2003], Taipei Biennial in [2008], He is the curator of the UAE Pavilion, Venice Bienial [2011]. He has curated the Turkish pavilions for 1994 and 1998 Sao Paolo and 2007 Venice Biennials. He is a board member of the Foundation for Arts Initiatives, and sits on the advisory committees of the Periferic Biennial; Artists Pension Trust Dubai, The Gyeonggi Creation Center, Korea, and Broadsheet Magazine Australia.

The lecture will revolve around questions of attempting to institute specificity with a focus on SALT a new program to open in Istanbul in the Spring of 2011.

DJ SPOOKY

2010-11-13T16:55:00.001+01:00

Vortrag
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula

In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.

Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.

Die Veranstaltung findet in englischer Sprache statt.

MARKUS MIESSEN

2010-11-09T10:13:00.000+01:00

Vortrag
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula

Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.

Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.

THOMAS KEENAN

2010-11-08T18:35:00.003+01:00

Vortrag
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula

Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?

Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.

EYAL WEIZMAN

2010-11-08T18:34:00.002+01:00

Vortrag
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula

The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.

Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).

WILLEM DE ROOIJ

2010-11-02T11:24:00.001+01:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula

Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de

Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.

ANSELM HAVERKAMP

2010-11-01T13:25:00.002+01:00

Festvortrag im Rahmen der Auftaktveranstaltung des Masterstudiengangs Curatorial and Critical Studies
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt

Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.

Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt

relational lockout

2010-07-07T12:03:00.000+02:00

relational lockout - music as social space

Thursday, 15. July
Opening: 18:30
Begin of panel discussion: 19:00
concert: ca. 21:00

Avantgarde and youth culture: radical action or market differentiation?

Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof

Noise, drone, improv – are these newly invigorated musical strategies a sign of the formation of a youth culture again fundamentally disapproving the commodity rationale or is it more a postmodern playful and romantic manipulation of signs, forms and channels of commoditized culture and past media types?

Martin Büsser co-founded the Ventil-Verlag publishing house as well as the book series "Testcard - Beiträge zur Popgeschichte" (Testcard - contributions to pop history). He has written many books on pop history and pop theory.
Michael Wertmüller is a sought-after composer whose works are being performed at big festivals for New Music. He also plays Free Jazz with people like Peter Brötzmann. Thomas Mahmoud celebrated successes with his band von spar. Together with Wertmüller and Marino Pliakas he founded the avantgarde-band Ives#1. Stefan Tcherepnin is a composer and musician. He works amongst other with Ei Arakawa and Merlin Carpenter. Szepanski published "Soundcultures" and founded Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki have founded the relational micro-nexus KACHELTISCH and organize the event.

concert: Thomas Mahomoud and Michael Wertmüller; Blake Fuchs

Friday, 16. July
Begin of panel discussion: 19:00
concert: ca. 21:00

Improvisation: plays, rules, technologies and communication

Institut für Feinmotorik
Felix Klopotek

Improvisation is a way of creating/demolishing rules and communication structures within the process of instant composing. How do technologies (new/abused interfaces, new/abused audio generators), spaces and personal relations to the other musicians take affect?

The Institut für Feinmotorik researches with its Octogrammoticum the improvisation with record players since the mid 1990s. On their tours they have played in the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe and Goethe-Institut in Buenos Aires. Felix Klopotek writes for Jazzthetik, Spex and Testcard; in 2002 he published the book „How they do it. Freejazz, Improvisation und Niemandsmusik“. He operates the label Grob producing the currently most important improvisational music.

concert: Institut für Feinmotorik

Saturday, 17. July
Begin of panel discussion: 19:00
concert: ca. 21:00

Leisure, fun and power play: the history of music – from sacred to commodity?

Achim Wollscheid
Lars Becker, Peter Pawlicki
Thomas Mahmoud

The use of music openly as an instrument in (micro-)politics of power has apparently changed to more subtle forms of music as a way to dampen social frictions. Although this does not exclude the possibility of transgression of the commodity rationale it makes the boundaries to be crossed less visible.

Achim Wollscheid is media artist, focusing in his works with sound, light and space and their interfaces

concert: Achim Wollscheid; Workshop band

__________________________________________________________________________________________________________________

relational lockout - Musik als sozialer Raum

Donnerstag, 15. Juli
Eröffnung: 18:30 Uhr
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr

Die Veranstaltung findet in englischer Sprache statt.

Avantgarde und Jugendkultur: Radikale Aktion oder Marktdifferenzierung?

Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof

Noise, Drone, Improv – sind diese teils neuerdings wiederbelebten teil- weiterentwickelten musikalischen Strategien ein Zeichen für die Formation einer Jugendkultur, die wieder fundamental die Warengesellschaft ablehnt, oder ist es eher eine postmoderne, spielerisch-romantische Manipulation von Zeichen, Formen und Kanälen der kommodifizierten Kultur und vergangener Medienformate?

Martin Büsser ist Mitbegründer des Ventil-Verlages und der Buchreihe "Testcard - Beiträge zur Popgeschichte". Zahlreiche Bücher zur Popgeschichte und Poptheorie wurden von ihm verfasst. Der klassisch ausgebildete multiinstrumentalist Michael Wertmüller ist ein gefragter Komponist, dessen Werke auf großen Festivals der Neuen Musik aufgeführt werden. Daneben spielt er Free Jazz mit so illustren Persönlichkeiten wie Peter Brötzmann. Thomas Mahmoud feierte Erfolge als Sänger mit seiner Band Von Spar. Zusammen mit Wertmüller und Marino Pliakas gründete er die Avantgarde-Band Ives#1. Stefan Tcherepnin ist Komponist und Musiker. Er Arbeitet unteranderem mit Ei Arakawa und Merlin Carpenter zusammen. Szepanski ist Herausgeber von "Soundcultures" und Gründer von Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki sind Gründer von des relationalen Mikro-Nexus KACHELTISCH und Organisatoren der Veranstaltung.

Konzert: Thomas Mahomoud und Michael Wertmüller; Blake Fuchs

Freitag, 16. Juli
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr

Die Veranstaltung findet in englischer Sprache statt.

Improvisation: Spiele, Regeln, Technologien und Kommunikation

Institut für Feinmotorik
Felix Klopotek

Improvisation ist eine Möglichkeit, Regeln und Kommunikationsstrukturen im Zuge des ‚instant composing’ zu etablieren und zu zerstören. Welchen Einfluss üben dabei Technologien (neue/missbrauchte Schnittstellen, neue/missbrauchte Audiogeneratoren etc.), Räume und persönliche Beziehungen zwischen den Musikern aus?

Das Institut für Feinmotorik erforscht seit Mitte der 90er Jahre mit seinem Octogrammoticum die Improvisation an Plattenspielern ohne Schallplatten. Auf ihren Tourneen spielten sie u.a. im Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe und im Goethe-Institut in Buenos Aires. Felix Klopotek schreibt für Jazzthetik, Spex und Testcard; 2002 veröffentlichte er Buches „How they do it. Freejazz, Improvisation und Niemandsmusik“. Als Betreiber des Plattenlabels Grob produziert Klopotek die Größen der Improvisationsmusik.

Konzert: Institut für Feinmotorik

Samstag, 17. Juli
Beginn der Podiumsdiskussion 19:00 Uhr
Konzert: ca. 21:00 Uhr

Die Veranstaltung findet in englischer Sprache statt.

Muße, Spaß und Machtspiel: die Geschichte der Musik

Achim Wollscheid
Ted Geier
Lars Becker, Peter Pawlicki
Thomas Mahmoud

Die offene Nutzung der Musik als Instrument (mikro-)politischer Macht wurde scheinbar von subtileren Formen der Musik als einer Möglichkeit, soziale Spannungen zu dämpfen, verdrängt. Obwohl dies die Möglichkeit zur Überwindung der Verwertungslogik nicht ausschließt, macht es doch die zu überschreitenden Grenzen weniger sichtbar.

Achim Wollscheid ist Medienkünstler, der sich in seinen Arbeiten seit 20 Jahren mit Klang, Licht, Raum und deren Schnittstellen beschäftigt.
Ted Gaier ist ein deutscher Musiker, Regisseur und Darsteller. Ted Gaier ist Gründungsmitglied und bis heute Texter, Bassist, Gitarrist und Keyboarder der Goldenen Zitronen, einer Hamburger Band.
Konzert: Achim Wollscheid; Workshopband

"THE END-OF-YEAR PROGRAMME"

2010-07-07T12:00:00.000+02:00

DIE STÄDELSCHULE ARCHITECTURE CLASS PRÄSENTIERT:
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010

ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN

Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation

Weitere Programmpunkte:

Donnerstag, 08.07. - 18:15
 Verleihung des Günter Bock Preises.
 Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.

Donnerstag, 08.07. - 18:30
 DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS
 Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten

Donnerstag, 08.07. - 16:30 
Ausstellungseröffnung 
THE SYNTHESIS OF NATURE AND ARCHITECTURE PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
 LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE

Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.

Die Ausstellung untergliedert sich in drei Teile:

VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.

SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.

OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.

Ewa Lajer Burcharth: Paint and Person in Chardin

2010-07-07T11:36:00.000+02:00

Vortrag
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.

Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.

Ei Arakawa

2010-06-10T15:19:00.003+02:00

Vortrag
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.

Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.

Achim Menges

2010-06-10T15:19:00.001+02:00

The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).

In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.

Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.

Bassam el Baroni

2010-06-10T15:18:00.002+02:00

Vortrag
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.

Aleksandra Mir

2010-06-10T15:18:00.001+02:00

Vortrag
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info

Adam Caruso

2010-06-10T15:17:00.002+02:00

the Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.

Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.

Jimmie Durham

2010-06-10T15:17:00.001+02:00

Vortrag
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.

Ingo Niermann

2010-05-26T15:50:00.001+02:00

The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010

Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).

Hal Foster

2010-05-25T11:13:00.001+02:00

Johann Friedrich Städel Lecture 2010
Eine Veranstaltung des Instituts für Kunstkritik

Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.

Antek Walczak

2010-05-17T17:59:00.001+02:00

Vortrag
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”

Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.

Clémentine Deliss

2010-05-17T17:56:00.001+02:00

Vortrag
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info 

BONNIE CAMPLIN

2010-05-05T10:15:00.003+02:00

Vortrag
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.

Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.

more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/

Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:

Catherine Wood:

Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?

Bonnie Camplin:

I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.

CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?

BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.

CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.

BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.

CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.

BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.

CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?

Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.

CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?

When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.

You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?

I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).

STÄDELSCHULE VORTRÄGE / LECTURES Summer 2010

2010-05-04T10:17:00.003+02:00

TRISHA DONNELLY

2010-05-04T10:12:00.001+02:00

Vortrag
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris

FLORIAN PUMHÖSL

2010-05-04T10:09:00.001+02:00

Vortrag
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.

MARION VON OSTEN

2010-05-04T10:06:00.000+02:00

Vortrag
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too.  The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.

Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).

Mathias Poledna

2010-01-27T23:29:00.001+01:00

Vortrag
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.

Mike Bouchet

2010-01-27T23:26:00.000+01:00

Vortrag
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.

The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.

Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).

SPACE AND TIME IN ARCHITECTURE AND EXHIBITIONS

2010-01-23T15:15:00.002+01:00

The Architecture Class presents:

Public Panel Discussion: "Space and Time in Architecture and Exhibitions"
Monday, 25th January, 18h, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

The modern notions of time and space in architecture are defined in terms of mutual dependency through an unresolved, dialectical hierarchy. One is supposed to follow the other and in this manner make the other legible. However, this relation of intelligibility is problematic since we construe space from systems of projection that far exceed the extensions give in Euclidean space, and the flow and experience of time can be reduced neither to a discrete nor a continueous condition. Nowhere is this unresolved relation between time and space more clear than in exhibitions - whether in art or architecture. These events use narratives and compositional adjacency relations in spatial terms to propose temporally defined relations.

*Jeffrey Kipnis*

Jeffrey Kipnis, currently a professor at Knowlton School of Architecture, Ohio State University and a visiting professor at Harvard, Colombia and Angewandte Kunst, Vienna is a world renowned architectural critic, educator and author. His work attempts to define and correlate the intellectual, cultural and political role of contemporary architecture – ranging from his writing which include:/ Toward a New Architecture/, /Twisting the Separatrix/ and /Political Space I/, to studies on 20^th century key figures such as Philip Johnson, Peter Eisenman, Rem Koolhaas and Daniel Libeskind, to various exhibitions on architectural drawing and design and his award-winning film on the work of Frank Gehry.

*Ben van Berkel*

Ben van Berkel is the Dean of the Städelschule Architecture Class and the co-founder of UNStudio. He has co-authored a number of books and essays and has been a visiting lecturer at Princeton, Columbia University, Harvard, the Berlage Institute and UCLA. Central to his work is an interest in the integration of construction and architecture. Recent projects include the Mercedes-Benz Museum in Stuttgart; the restructuring of the station area of Arnhem, The New Amsterdam Plein & Pavilion in Battery Park New York, the MUMUTH Music Theatre in Graz and the Raffles City development in Hangzhou, China.

*Johan Bettum*

Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class. He has also taught at the AA, UCLA, the Berlage Institute, Innsbruck University, the EPFL in Lausanne and Oslo School of Architecture. Bettum has a PhD in fibre-reinforced material systems entitled /The Material Geometry of Fibre-Reinforced Polymer Matrix Composites and Architectural Tectonics./ He has written for a number of prominent publications while his work is repeatedly published in Graz Architecture Magazine, Domus and Architecture Design (AD) to name but a few. His practice, ArchiGlobe, focuses on architecture within the context of research and experiments.

*Nikolaus Hirsch*

Nikolaus Hirsch is a Stiftungsprofessor at the Städelschule who has hold academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition architectures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel), “Frequencies-Hz” at Schirn Kunsthalle and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.

Rundgang 2010

2010-01-19T17:39:00.005+01:00

Jahresausstellung der Studierenden der
Städelschule

Eröffnung mit Preisverleihung: Freitag, 12. Februar 2010, 18 Uhr, Dürerstrasse 10
Party: ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2010
Öffnungszeiten: 10 – 20 Uhr
Shuttlebus zwischen Dürer- und Daimlerstraße am Wochenende ab 11Uhr stündlich.
Eintritt Frei!

Mit freundlicher Unterstützung von:

Städelschule Portikus e.V.
Hans und Stefan Bernbeck-Stiftung
Lohr & Schach
Delbrück Bethmann Maffei ABN AMRO AG
Linklaters LLP
Haus & Grund Deutschland
Landwirtschaftliche Rentenbank
Frankfurter Verein für Künstlerhilfe e.V.
Ernst & Young GmbH
Albig-Stiftung

Agassi F. Bangura & Claus Rasmussen
"African fitness Studio" Installation, verschiedene Materialien, 2009

REBECCA BLIGH

2009-12-14T15:33:00.002+01:00

Vortrag
Rebecca Bligh: "Autism: Systemizing, and Styles of Thinking."
Mittwoch, 16. Dezember, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

The lecture will explore current theories of autism; those of Professor Simon Baron-Cohen of the Autism Research Centre in Cambridge, and those of Dr. Temple Grandin, next to “Rain Man” the most renowned autistic person on the planet. Particular attention will be paid to the relevance of 'brain sex' to the tendency to 'hypersystemize' (Baron-Cohen) and to the various thinking styles Grandin describes as typical of autism, understood, in both cases, as extremes on a continuum to which we all belong, neuro-typical and -atypical alike.

Rebecca Bligh is a London-based writer and academic who is doing a PhD at Goldsmiths on the French phenomenologist Henry Corbin. Outside the confines of doctoral research, Rebecca has published on diverse subjects, most recently “Readers Wives” pornography, and libraries.

KEREN CYTTER

2009-12-14T15:32:00.001+01:00

Vortrag
Keren Cytter: Integral outlines
Dienstag, 15. Dezember, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

Keren Cytter currently lives and works in Berlin. Recent solo exhibitions include CCA Center for Contemporary Art, Kitakyushu (2009), X-Initiative, NY (2009), Witte de With, Rotterdam (2008), and MUMOK, Vienna (2007). Her work is currently featured in the 53rd Venice Biennale and was included in group shows such as Television Delivers People, the Whitney Museum of American Art, New York (2008), Manifesta 7, Trentino (2008) and the Yokohama Triennale, Yokohama (2008). She was nominated for the Preis der Nationalgalerie für Junge Kunst 2009, Berlin. Cytter is the author of three novels, most recently The True Story of MosheKlinberg, 2009, Onestar Press, Paris.

CONFERENCE "FAREWELL TO CONTEMPORARY ART?"

2009-12-11T13:26:00.001+01:00

Tagung
"Farewell To Contemporary Art?"
A Conference in two parts
Teil 1: Montag, 14. Dezember, 14-20 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.
Die Veranstaltung ist eine Zusammenarbeit mit der ALLIANZ KULTURSTIFTUNG

Speakers: Alexander Alberro, Carrie Lambert-Beatty, Jack Bankowsky
Response: Vanessa Joan Müller, Stefan Deines, Isabelle Graw, Daniel Birnbaum

The category “Contemporary Art” has risen to a label full of promise. This is true for the city of Frankfurt in particular, where the expansion of the Städelmuseum has been justified with the need for collecting Contemporary Art. “Contemporary Art” is a composite term which contains a double charge: it promises “art” and an edgy timeline. It therefore fuses two assumptions of value. As much as “Art” is a term with an evaluative dimension, refering back to the idealist notion of a trans-historical truth and disinterestedness, “contemporary” is a slightly unspecific designator of time because it can designate what is happening at this very moment but also point to the last ten years. Since the 1990´s, contemporariness has come to be firmly associated with hipness and being “in”, and so the contemporary art enthusiast is entitled to see himself as a member of those in the know. Yet the label “contemporary art” also allowed the art world to lose its reputation for elitism. It suggests that being of your time is all it takes to understand this art, for it, too, is a phenomenon of its time. This attempt at popularisation implicit in the principle of contemporary art has worked out well. But it came at a price – the disrespect paid to the traditional specialized knowledge that is indispensable to a proper understanding of artistic practice.
But what happens when this double presumption of value on which the symbolic charisma of contemporary art is founded upon ceases to be self-evident – a process we can currently observe taking place as a consequence of the global economic crisis? Every economic crisis is also a crisis of confidence: our trust in values, both economic and symbolic, is profoundly shaken. Just as the “boom” is now a thing of the past, the principle of “Contemporary Art”, too, epitomizes a past era, despite its invocation of contemporariness. Should we, then, drop the term “contemporary art” altogether because the claim to value it presupposes has always been questionable and is now surely more questionable?

ISABELLE GRAW
Dr. Isabelle Graw is a Professor of Art History and Criticism at the Staatliche Hochschule für Bildende Künste - Städelschule.

DANIEL BIRNBAUM
Rector of the Städelschule and director of Portikus.

VANESSA JOAN MÜLLER
Müller has been the director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf since September 2006.
Müller graduated from the Ruhr-Universität in Bochum with a degree in art history and film studies. From 2000 to 2005 she worked as a curator at the Frankfurter Kunstverein and in late 2005 became academic director of the project “European Kunsthalle” in Cologne, which explores different models for a potential art institution.
Vanessa Joan Müller has curated exhibitions such as “non-places” (Frankfurter Kunstverein, 2002), “New Heimat” (Frankfurter Kunstverein, 2001) and “Adorno. The possibility of the impossible” (co-curated with Nicolaus Schafhausen, Frankfurter Kunstverein, 2004) and devised a programme of lectures and events entitled “Under Construction” for the European Kunsthalle, also with Nicolaus Schafhausen. Numerous publications on contemporary art and art theory confirm her position as a curator with a strong interest in contemporary art and its social and philosophical contexts.
She has written for numerous artist’s editions and catalogues, including those of De Rijke/De Rooij & Christopher Williams, Isa Genzken, Henning Bohl and Silke Schatz. She is co-author of Adorno. Die Möglichkeit des Unmöglichen (Frankfurter Kunstverein, 2003) and Palermo (Kunsthalle Düsseldorf & Künstverein Düsseldorf, 2007).

STEFAN DEINES
Stefan Deines teaches Philosophy at the Goethe University of Frankfurt am Main; he wrote his PhD thesis on the subject Immanent Critique. Models of Critical Agency in Hermeneutics, Post-Structuralisms and Neo-Pragmatism; his main fields of interest include Critical Theory, Philosophy of History, Aesthetics and Philosophy of Art.

ALEXANDER ALBERRO
Columbia University, New York
Virginia Bloedel Wright Associate Professor of Art History, Barnard
Modern and contemporary Art; History of Photography
Ph.D., Northwestern, 1996
Alexander Alberro's courses and graduate advising is in the area of modern and contemporary European, U.S., and Latin American art, as well as in the history of photography. His essays on modern and contemporary art have appeared in a wide variety of journals and exhibition catalogues. He is also the author of Conceptual Art and the Politics of Publicity (2003), and has edited a number of books on contemporary art for MIT Press and the University of California Press, including Institutional Critique: An Anthology of Artists Writings; Art After Conceptual Art; Museum Fictions; Recording Conceptual Art; Two-Way Mirror Power; and Conceptual Art: A Critical Anthology. Alberro is currently completing book-length study of the emergence and development of abstract art in Latin America and is beginning to work on a volume that explores new forms of art and spectatorship that have crystallized in the past two decades.

CARRIE LAMBERT-BEATTY
Harvard University, Cambridge
Assistant Professor of Visual and Environmental Studies and of History of Art and Architecture
Department of Visual and Environmental Studies
Lambert-Beatty is an art historian whose research focuses on art since 1960, especially performance and video. She received her PhD from Stanford University in 2002, and has been a fellow at the Whitney Museum of American Art Independent Study Program and the Getty Research Institute. Her writing on performance art, postmodern dance, and minimalism has been published in exhibition catalogs and in journals such as Trans, Art Journal, and October magazine, of which she has been an editor since 2008. Her book Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008) was the 2008 winner of the de la Torre prize for scholarship on dance. Lambert-Beatty is working on a new project on recent intersections of art and activism, parts of which have been published in the journal Signs (Winter 2008) and October (Summer 2009).

JACK BANKOWSKY
was the Editor-in-Chief of Artforum throughout the 1990s (1992-2003) and the founding editor of Artforum's sister publication, Bookforum, where he was editor from 1996 to 1998. He is currently Editor-at-Large of Artforum and a freelance critic and curator. Bankowsky has served on the juries of Takashi Murakami's GEISAI art fair and the Venice Biennale, and his controversial contemporary survey exhibition, "Pop Life: Art in a Material World," (co-curated with Alison Gingeras and Catherine Wood) is scheduled to open at Tate Modern in the fall of 2009. A visiting scholar at Yale University in the fall of 2004 and 2005, and at UCLA in 2008, he has lectured extensively on contemporary art. Recent writings have addressed the art of David Hammons, Louise Lawler, Jason Rhoades, and Richard Prince. Bankowsky's essay "Ciao Rensselaerville," on the latter artist's work, appears in the catalogue of his 2007 Solomon R. Guggenheim Museum retrospective.

FRANCES SCHOLZ UND MARK VON SCHLEGELL

2009-12-11T13:25:00.000+01:00

Frances Scholz und Mark von Schlegell: Inversions
Mittwoch, 9. Dezember, 19 Uhr, Aula

Die Veranstaltung findet in englisch und deutscher Sprache statt.

Frances Scholz wurde 1962 in Washington D.C. in den USA geboren, studierte an der Universität der Künste Berlin und lebt seit 1988 in Köln. 2002 wurde sie an die Hochschule für Bildende Künste Braunschweig berufen.

"Contemporary writer" Mark von Schlegell is a dual Irish and American citizen. He was born in New York and lives in Cologne. He is the author of the novels Venusia (2005) and Mercury Station (2009) published by M.I.T./Semiotext(e). Venusia was honor’s listed for the 2007 James Tiptree, Jr. Prize in science fiction. His experimental fiction and cultural criticism appear regularly in the international art world. Realometer (2009), a collection of literary essays on Poe, Melville and James Tiptree, Jr. is available from Merve Verlag, Berlin in German.

SUSANNE GAENSHEIMER

2009-12-11T13:23:00.001+01:00

Vortrag
Susanne Gaensheimer: Jack Goldstein
Dienstag, 8 Dezember, 19 Uhr, Aula

Die Ausstellung von Jack Goldstein ist die erste in einer neuen Reihe von umfassenden Retrospektiven, die das MMK ausgewählten Positionen seiner Sammlung widmet. Jack Goldstein (geb. 1945 in Montreal, gest. 2003 in San Bernardino), der in der Sammlung des MMK mit exemplarischen Werken vertreten ist, gehört zu den wichtigsten »Künstler-Künstlern« der letzten 30 Jahre. Von Künstlern und dem Fachpublikum international geschätzt, ist er einem breiteren Publikum nach wie vor unbekannt.

Nach seiner Ausbildung u.a. am neu gegründeten California Institute of the Arts in der berühmten »Post-Studio Art«-Klasse von John Baldessari Mitte der 60er Jahre arbeitete er sowohl in Los Angeles als auch in New York. Durch die Gruppenausstellung »Pictures« des Kritikers und Theoretikers Douglas Crimp 1977 im New Yorker »Artists Space« wurde Jack Goldstein als Teil einer neuen Künstlergeneration bekannt, die sich sowohl vom Minimalismus und der Pop-Art absetzte als auch beide Kunstrichtungen kritisch weiterentwickelte. In einem Interview formuliert Goldstein: »Ich interessiere mich für die Lücke zwischen Minimalismus und Pop-Art: für die Objekthaftigkeit und Autonomie im Minimalismus sowie für den Stoff unserer Kultur, der sich in der Pop-Art findet.« Goldsteins außergewöhnliches Oeuvre zeichnet sich durch Vielfalt und Eigenständigkeit aus: Es umfasst Performances, Filme, Schallplatten, Gemälde, graphisch gestaltete Aphorismen und Texte. Für seine kritische Auseinandersetzung mit den medial vermittelten Bildern der westlichen Kultur nutzte er Techniken und Bilder der Kulturindustrie und der Werbung. »Media is sensational« schreibt Jack Goldstein in einem aphoristischen Katalogbeitrag für die documenta 7, der als Leitmotiv für sein Werk betrachtet werden kann. In den 1980er Jahren galt Goldstein neben Richard Prince, Sherrie Levine, Robert Longo und David Salle als einer der wichtigen Künstler der so genannten Picture Generation.

Die Ausstellung im MMK ist die erste umfassende Museumsausstellung des Künstlers in Deutschland seit 1985. Goldstein, der mit Filmen und Gemälden auf der documenta 7 (1982) und 8 (1987) vertreten war, hatte größere Einzelausstellungen in Amerika und Europa, zuletzt 2002 im »Magasin, Centre National d'Art Contemporain«, Grenoble. Die Ausstellung im MMK ist die erste umfassende Museumsausstellung des Künstlers in Deutschland seit 1985.

Dr. Susanne Gaensheimer promovierte 1997 an der Ludwig-Maximilians-Universität München, von 1999 – 2001 war sie Direktorin des Westfälischen Kunstvereins in Münster, von 2002-2008 Leiterin der Sammlung für Internationale Gegenwartskunst und Kuratorin in der Städtischen Galerie im Lenbachhaus München und seit 2008 ist sie Direktorin des MMK Museum für Moderne Kunst Frankfurt am Main.

ISABELLE GRAW

2009-12-01T17:39:00.002+01:00

Vortrag
Isabelle Graw: "And the Winner is: Criticism"
Dienstag, 1. Dezember, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

There is no "criticism" as such but different notions and practices of Criticism that have to be examined. As far as art critics are concerned, this talk starts from the premise that there is currently a tendency towards "expanded competence profiles" to be observed. These extended competence profiles - embodied for instance by the critic-curator - are considered to be symptomatic for increased market pressures. While avoiding any nostalgic plea for a return to a more restricted division of labor, it will be demonstrated how criticism as a concept actually implies the production of dualisms. And one of the main dualisms that Criticism assumes and produces is the Dualism between "Art" and "The Market". While pointing to Criticism´s implication in market conditions, Graw nevertheless insists on its potential to question hegemonic value judgments.

Prof. Dr. Isabelle Graw lives and works in Berlin. She founded "Texte zur Kunst", recently published "Der große Preis. Kunst zwischen Markt und Celebrity Kultur" and is a Professor of Art History and Criticism at the Städelschule.

MARK LECKEY

2009-12-01T17:39:00.001+01:00

Einweihungsfeier der neuen Übergangsateliers der Städelschule
"The Welcome Party"

Programm:
20:00 Uhr Mark Leckey: The End of the lange Schwanz, Vortrag
21:00 Abendessen
22:00 Nico Vascellari, "Women in the Woods", Konzert
22:30 Party, div. DJ´s

Montag, 30. November 2009
Städelschule
Daimlerstraße 32
60314 Frankfurt am Main

Vortrag
Mark Leckey: The End of the lange Schwanz
Montag, 30. November, 20 Uhr, Projektraum, Daimlerstraße 32
Die Veranstaltung findet in englischer Sprache statt.

Anschließend erwartet Sie ein Abendessen, zubereitet von Att Poomtangon zu Ehren Leckeys.

2008 Turner Prize winner Mark Leckey recently embarked on a year-long series of theatrical lectures entitled ‘Mark Leckey in the Long Tail’, bringing together ‘old-school’ didactics, a film soundstage and fine art performance. Leckey deconstructs the ‘Long Tail’ phenomenon by way of the character Felix the Cat, among other manifestations, which he believes embody the concept. A term coined by American journalist Chris Anderson, ‘The Long Tail’ represents the frequency with which marginal endeavours are consumed. The very few most popular are designated by ‘the head’ (take for example, in song-writing the top 40 music chart hits), with the remainder, ‘The Long Tail’, representing the innumerable songs written by unsigned rock units.

Mark Leckey lives and works in London, his work has been exhibited at P.S.1 Contemporary Art Center, New York; Tate Britain, London; and at the Istanbul Biennial, Turkey. His work is included in collections at Centre Georges Pompidou, Paris; The Museum of Contemporary Art, Los Angeles; and the Walker Art Center, Minneapolis. Two of Leckey’s works are in MoMA’s collection: Made in ‘Eaven (2004) and Cinema in the Round (2006–08), which was recently acquired by the Museum.

Mark Leckey has been Professor of Film at the Städelschule since 2005.

RACHEL HARRISON

2009-12-01T17:38:00.002+01:00

Vortrag
Rachel Harrison: Eroberung des Nutzlosen
Mittwoch, 25. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.

The American artist Rachel Harrison’s sculptures are at once autonomous and always part of a larger installational ensemble. Such an ensemble is often based on a specific idea or tendency the various objects pursue in different ways. Her work combines industrially produced and handmade elements, abstract shapes and real objects in precarious sculptural units that present lateral views finished in a variety of ways.
They tell of characters and events in recent art and cultural history as well as the popular world of the media. The works suggest combinatorial clues, engender effects; now and then the structures even dissolve into references within a private language, or at least become difficult to understand.

Rachel Harrison’s strategies are unsettling and provoking, seducing and destabilizing our thinking in patterns of representation, whose internal dynamism she uses in masterful fashion only to induce, without further ado, their collapse in such dialectical reversals. The American author John Kelsey, for instance, writes: “And if Harrison’s sculpture is so caught up in this chaos of signs and surface effects it’s precisely because it’s so serious about space: in a time when space and image lose their distinction, and the old, ideal distance between viewer and object is always already filled up and occupied by a thousand communications, sculpture, too, finds ways of making itself multi-surfaced and schizo-temporal. In order to re-occupy our contemporary no-space, it trades in its timeless pose for a temporary one, or for a manic series of appearances.” With these appearances, there will be no real final decoding of a concealed truth or an idea. True, there is between disguise and sculpture a world where people like Jack Smith, Leigh Bowery, Liz Taylor, Al Gore, E.T., the Venus de Milo, Leonardo DiCaprio, or Marilyn Monroe come to life. Yet plenty of tchotchkes, magazine illustrations, canned beans, Slim-Fast in cans, honey bears and such things are also waiting to be seen and to be put in combination.

Rachel Harrison is showing new works at PORTIKUS, Frankfurt am Main from November 28 to January 17, 2010. Her first large-scale survey exhibition at the CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY is still on view until December 20 before moving, in April 2010, in a revised version, to the Whitechapel Gallery, London.

Rachel Harrison was born in New York in 1966. She lives and works in New York.

PETER FEND

2009-12-01T17:38:00.001+01:00

Vortrag
Peter Fend: Konsequenzen von Kunst
Donnerstag, 5. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.

In cooperation with "Other" (Frankfurter Kunstverein) and "Other" (Dom Museum) showing
Peter Fend "Fluege ueber: Afghanistan auch Iran"
from 5. Nov - 22.Nov. 2009
Opening: 4. Nov. 9pm
Curated by Oliver Heinzenberger and Shane Munro

On the principle that art should do more than just sit there looking pretty, Peter Fend established the Ocean Earth Development Corporation in 1980. A blend of Conceptual art, activism and entrepreneurship, it tackles environmental problems through an application of art-as-concept.
The group‘s aim is to fulfil the architectural requirement for living waters, clean air, circulatory space and territorial integrity. They also use satellite imaging to monitor and analyze global ecological and geopolitical hot-spots, largely for media clients. Considering the world a living earthwork, ecological aspects are linked to and interconnected with artistic aspects.
Mr. Fend's influences are varied, ranging from hard science to hard-thinking artists like Robert Smithson and Joseph Beuys.
Peter Fend lives in New Zealand.

In the show "Fluege ueber: Afghanistan auch Iran" he represents an enlarged Exxonmobile-ad to expose how they blocked his 2 million dollar grant for renewable fuels and presents a Scenario of renewable fuels for the flyway from Somalia over Afganistan to the Aral Sea. The technology is being developed at Ruhr 2010.

STÄDELSCHULE VORTRÄGE / LECTURES WINTER 2009/10

2009-12-01T17:36:00.002+01:00

HU FANG / CHU YUN / HELKE BAYRLE

2009-12-01T17:35:00.000+01:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Lecture
Hu Fang: New Species of Space
Dienstag, 13 Oktober, 19 Uhr, Aula

Die Veranstaltung findet in englischer Sprache statt.

"Spaces have multiplied, been broken up and have diversified… To live is to pass from one space to another, while doing your very best not to bump yourself."
(Georges Perec)
When reality has already become commodity, Hu Fang would like to talk about his recent novel Garden of Mirrored Flowers as well as observations of a special transformation: a labyrinth to be lost in, but also a productive context to produce reality with fictional approaches – precisely because we are situated within a reality replete with multiple routes. Also he will refer about the exhibition of Chu Yun in Portikus.
Hu Fang is a fiction writer ( www.hufangwrites.com) and co-founder of Vitamin Creative Space (www.vitamincreativespace.com) in Guangzhou, and "the shop" in Beijing (vitamincreativespace.blogbus.com).

Ausstellung
Chu Yun
Eröffnung: Donnerstag, 15. Oktober, 20 Uhr, Portikus
Ausstellungsdauer: 16. Oktober - 15. November 2009

In seinen Arbeiten geht der chinesische Künstler Chu Yun vorwiegend installativ vor und bezieht sich unmittelbar auf seine Erfahrungswelt. Oftmals ist dabei der Produktionsprozess selbst als Teil des Kunstwerks mit zu betrachten. Während sich vielleicht die jüngsten Arbeiten mehr und mehr strukturell gesellschaftlichen Beobachtungen widmen, beziehen sich frühere Arbeiten wiederkehrend auf sehr persönliche und alltägliche Referenzen. Sie tasten in diesem Spannungsfeld die Grenzen der künstlerischen Produktion und der Dynamik des Rezeptionsprozesses ab. Chu Yuns künstlerische Sprache ist sehr klar, dabei gelingt es ihm aber auf poetische Weise das Verborgene zu offenbaren und damit den Blick auf das Reale freizugeben.
In einem Gespräch mit dem Kurator Hu Fang hat Chu Yun die Beschäftigung mit dem Alltäglichen folgendermaßen beschrieben: “In der Tat sind die Dinge die uns verändern weniger die, denen wir uns ganz offen bewusst sind, oder an die wir uns gar erinnern können. Ich denke, wir neigen eher dazu unbewusst geleitet zu werden, von Dingen, die wir nicht eben so wahrnehmen. Und, dass uns diese Dinge noch viel schneller und drastischer verändern.“

Unter dem Titel "Chu Yun" hat der Künstler im Portikus ein für einen Innenraum beinahe überdimensioniertes Blumenbeet installieren lassen, welches in seiner Erscheinung und Ausführung beeindruckt. In vielschichtigen und flamboyant-verschiedenfarbigen Blumenpflanzungen, die an einen barocken Garten erinnern, erhebt sich eine florale Rotunde in der Mitte des Ausstellungsraums. Diese kann von allen Seiten betrachtet werden. Mit dem Blick von der oberen Galerie des Portikus erschließt sich dem Betrachter jedoch eine weitere Dimension der Installation, in deren Mitte die Worte „Make a Great Work“ eingepflanzt sind. Chu Yun führt mit der überwältigenden Dichte und gestischen Überschwänglichkeit des Blumenbildes den Kontrast zwischen einer persönlichen Aussage und der artifiziellen Form eines Kunstwerks vor. In der Kombination dieser beiden zugleich komplex und einfach erscheinenden Elemente ist durchaus auch ein selbstironischer Zug in der Reflexion über künstlerische Repräsentation zu erkennen. Zugleich erinnert die Größe der Installation an Blumenrabatten im öffentlichen Raum. Dies könnte vielleicht als Verweis auf in China durchaus übliche urbane Anlagen dieser Art gelesen werden. In der Fülle der dicht an dicht aneinander gesetzten Blumen versteckt sich aber auch eine Analogie zur alltäglichen Erfahrung der Gesellschaft als eine Masse von Individuen.

Chu Yun, geboren 1977 in Jiangxi, lebt und arbeitet in Peking, China. Sein internationaler Erfolg spiegelt sich in einer Reihe von Ausstellungsbeteiligungen der letzten Jahre, wie etwa der 53. Venedig Biennale, den Gruppenausstellungen The Generational: Younger than Jesus im New Museum, New York 2009, Sprout from White Nights in der Bonniers Konsthall, Stockholm 2008, Our Future: The Guy & Myriam Ullens Foundation Collection, UCCA, Ullens Center for Contemporary Art in Peking 2008, sowie 2007 dem viel diskutierten Projekt "This is xx" auf der Frieze Art Fair in London wider. Im selben Jahr präsentierte Vitamin Creative Space in Guangzhou, China eine Einzelausstellung mit Chu Yun.

DVD- und Buch-Präsentation
Helke und Thomas Bayrle
Donnerstag, 15. Oktober, 19 Uhr, Portikus

Die Neuerscheinung "Portikus under Construction" von Helke Bayrle ist bei SternbergPress erschienen. Das DVD-Projekt umfasst 53 Dokumentationen zu den Ausstellungsaufbauten der vergangenen Jahre.

Die in Frankfurt am Main lebende Filmemacherin Helke Bayrle hat bereits seit vielen Jahren die Aktivitäten des Portikus dokumentiert. Das Ergebnis ist eine einzigartige Sammlung von Künstlerporträts, aus der wir hier das vergangene Jahrzehnt präsentieren. Es handelt sich um Material, das hinter den Kulissen aufgenommen wurde und um Szenen, die man als Betrachter der fertigen Ausstellungen normalerweise nicht zu sehen bekommt. Einige der Künstler sprechen bereitwillig über die Form und Bedeutung ihrer Arbeit, andere sind auf die Zusammenarbeit mit dem Installationsteam und den Kuratoren konzentriert. Helke Bayrles Material ist äußerst umfangreich und stellt ein wichtiges Archiv zur zeitgenössischen Praxis des Ausstellungmachens dar. Die hier vorliegenden drei DVDs präsentieren eine Auswahl von geschnittenen Versionen einzelner Künstlerporträts. Sie zeigen die Künstler beim Arbeiten im Portikus, gleichzeitig vermitteln sie uns einen Blick hinter die Kulissen einer der lebendigsten und experimentellsten Kunstinstitutionen Europas. Jedes einzelne Kapitel wird zu einer Version des Portikus „under construction“.
Die vorliegende Sammlung beginnt mit Michael Elmgreen & Ingar Dragsets „Powerless Structures, Fig. 111“ von 2001.

Mit dem Buch "Parkhaus Köln"stellt der Verlag der Buchhandlung Walther König eine Parkhausarchitektur von Thomas Bayrle vor. Neben Miniaturautos hat Bayrle hier auch vier kleine Bücher gestellt. Jedes Exemplar ist ein Unikat und vom Künstler zusätzlich mit Aquarell, Collage oder Siebdruck ausgestattet.

Staatliche Hochschule für Bildende Künste - Städelschule
Dürerstraße 10
D-60596 Frankfurt am Main
Tel +49 (0) 69 60 50 08-0
Fax +49 (0) 69 60 50 08-66
www.staedelschule.de

Wenn Sie keine weiteren Informationen über Veranstaltungen in der Städelschule erhalten möchten, beantworten sie diese Email mit dem Hinweis LÖSCHEN in der Betreffzeile.

ATT POOMTANGON

2009-07-16T11:58:00.000+02:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Lecture
Att Poomtangon: Keep something for the way
Tuesday, 21 July, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

The convergence of fundamental themes of social engagement and the questioning of technological achievements that profoundly influence the ecosystem have been features of Att Poomtangon’s art work for a number of years. In a rather poetic way he has succeeded in tracing, by means of a cultural translation, that which gets lost in an automated cultural process.
Att Poomtangon was born in Thailand and studied art and sculpture at Chiangmai University through 1999 before completed his master’s studies in the Rehberger class at the Städelschule. He recently participated in Fare Mondi – Making Worlds, the 53rd Venice Biennale, and amongst others the Nassauischen Kunstverein in Wiesbaden presented his work in the solo exhibition something about tomorrow evening in 2008.

Ausstellung
Att Poomtangon: On the Way to the Alps I see Sand
Eröffnung: Freitag, 24. Juli, 20 Uhr, Portikus
Ausstellungsdauer: 25. Juli – 6. September 2009

Mit der ortsspezifischen Installation On the Way to the Alps I see Sand bezieht sich der thailändische Künstler Att Poomtangon ganz unmittelbar auf die geografische Verortung des Portikus und nutzt den die Portikusinsel umgebenden Main als Ausgangspunkt für eine weit reichende Recherche rund um das Thema des gesellschaftlichen Umgangs mit natürlichen Ressourcen und den kausalen ökonomischen Zwängen. Die Situation, die er im Portikus herstellt, ist nicht diejenige einer unmittelbar politischen Diagrammatik, vielmehr sucht er die rituelle Stimmung eines thailändischen Tempels herzustellen, in dem die Sinne geschärft und über den eigenen physischen Einsatz Sensibilisierungsprozesse erreicht werden.

END OF YEAR / BRETT STEELE / PAPILLON AND THE OTHER HALF

2009-07-03T11:34:00.001+02:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

END-OF-YEAR EVENTS
9th - 10th July 2009

Deutsches Architekturmuseum - DAM
Schaumainkai 43
Frankfurt am Main

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

The End-of-Year Events of the Architecture Class provide a series of exciting opportunities for visiting the Städelschule Architecture Class (SAC) where stimulating discussions about architecture will be taking place. For these events, SAC is proud to host a variety of world-class theorists and architects some of whom include: Brett Steele, the director of AA, London; Mark Wigley, dean and professor of architecture at Columbia University; Professor Beatriz Colomina of Princeton University; Peter Cachola Schmal, director of Deutsches Architekturmuseum; Professor Achim Menges of Stuttgart University and Frank Barkow of Barkow Leibinger Architekten. These distinguished guests join the faculty of SAC which includes: Daniel Birnbaum, rector and professor of the Städelschule, Professor Ben van Berkel, Professor Johan Bettum, Professor Nikolaus Hirsch, Lars Nixdorff, Sigurdur Gunnarsson, Professor Klaus Bollinger, Professor Manfred Grohmann, Dr.-Ing. Oliver Tessmann and Agnes Weilandt.

Review of the Research and Experiments by the First Year Group
Thursday, 10th July, 12h, DAM

The work of the first year students comprises of research and experiments that are based on their respective analysis of a selected pavilion from the recent history of architecture. From their investigations, the students have derived individual topics and thematic foci which have then been developed through a series of modelling experiments. The results of these are being presented in respect to their implications for architecture.

Diploma Thesis Review
Friday, 10th July, 10h, DAM

The Diploma Thesis project revolves around the design of an “Art Hostel” for Inhotim Centro de Arte Contemporanea, Belo Horizonte, Brazil. The museum is one of the central institutions in Brazil for contemporary art and is intending to expand its services for visitors. This includes the plan to build a hostel that can cater for individual visitors and groups as much as form a programmatic connection to the local community. The thesis project proposals are the results of research and experiments conducted in the architecture class within the last two years.

Dean's Honorary Lecture: Brett Steele
& The Günter Bock Prize: First Year Prize for Excellent Work
Friday, 10th July, 16:30h, DAM

This year the Dean’s Honorary Lecture will be delivered by Brett Steele, the director of the Architectural Association (AA) in London, one of the most prestigious architectural schools in the world. Since taking up the role, Steele has consolidated the role of the school as a hub for the exchange and production of architectural knowledge and invention reflecting current cultural trends in the Western world. Steele’s honorary lecture follows those of Greg Lynn (2008), Mohsen Mostafavi (2007) and Mark Wigley (2006). With the series, the dean of SAC seeks to pay personal tribute to and honour outstanding individuals for their role and achievements in architecture.

For the third year in a row, the Günter Bock Prize will be awarded to a student in the First Year Group whose general performance and portfolio is considered outstanding. The prize is named after the previous leader of the Architecture Class, the Frankfurt-architect Günter Bock (1918-2002) and the sum of 4500 Euros is supplied by the Lions Club Frankfurt Flughafen. The prize jury is comprised of the mentioned projects review panel, headed by Professor Ben van Berkel.

"Papillon and the Other Half"
im Rahmen der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur"
Eröffnung: Freitag, 10. Juli, 19 Uhr
Ausstellungsdauer: 11. Juli – 20. September

Temporäre Architektur ist nicht nur experimentelles Denken und Konstruieren, sondern immer auch Bauen für klimatisch warme und gemäßigte Jahreszeiten. Passend zum Sommer widmet sich das Deutsche Architekturmuseum in der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur" ganz dem Thema Pavillonarchitektur. Als ein paradigmatisches Beispiel wird der DAM-Pavillon von Barkow Leibinger Architekten und Werner Sobek Ingenieuren vorgestellt.

Im zweiten Teil der Schau unternimmt die Städelschule Architecture Class (SAC), einen einzigartigen Ausflug in die polemische Welt der architektonischen Pavillons. Die Präsentation eigens für die Ausstellung hergestellter Modelle erlaubt neue und außergewöhnliche Blicke auf bekannte Pavillons der jüngeren Architekturgeschichte. Moderne Klassiker von Le Corbusier, Mies van der Rohe, Gerrit Rietveld und Frei Otto treffen auf zeitgenössische Pavillons von Toyo Ito, David Adjaye, Álvaro Siza und Diller + Scofidio. Die Studierenden der SAC zeigen ihre Modellentwürfe und Forschungsergebnisse auf einer eigens dafür entworfenen dreidimensionalen Wandmatrix – „the Papillon“.

Zur Ausstellung erscheint im Hatje Cantz Verlag die reich bebilderte Publikation „Der Pavillon – Lust und Polemik in der Architektur“ mit Essays von Frank Barkow, Barry Bergdoll, Ben van Berkel, Johan Bettum, Christian Brensing, Kerstin Bußmann, Beatriz Colomina, Nikolaus Hirsch, Werner Sobek und Wolfgang Sundermann.

In Zusammenarbeit mit Deutsches Architekturmuseum - DAM

BORIS GROYS / FRIEDRICH WOLFRAM HEUBACH / DIEDRICH DIEDERICHSEN

2009-06-26T15:25:00.000+02:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Boris Groys: Politics of Installation
Wednesday, 1st July, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

In “Politics of Installation”, Boris Groys considers the multilayered nature of the artist's sovereign will and the challenge posed to it by the fundamental act of exhibiting work to the public. Here, within the modernist notion of absolute artistic sovereignty, he identifies a short-circuit in the Western conception of freedom. This is simply because, in exhibiting work to the public (in the name of the public), the artist effectively justifies the place of his or her work in public discourse. The artwork's sovereignty is, in a sense, limited by the same process that allows it to exist as such. In order to recover this lost agency, Groys finds in installation practice a public space in which the artist's sovereign will can be reclaimed.
Boris Groys, Professor of Aesthetics, Art History, and Media Theory at HfG Karlsruhe and Global Professor at New York University, is a philosopher, art critic, curator, and media theorist. He published numerous books including „The Total Art of Stalinism“ (Princeton, 1992), „Über das Neue. Versuch einer Kulturökonomie“ (München, 1992), and “Art Power” (Cambridge, 2008), and “Thinking in Loop. Three video lectures” (Karlsruhe/Ostfildern 2008). He has curated the exhibitions “Dream Factory Communism” (Schirn Kunsthalle, 2004), “Privatisations”, at the KW (Berlin, 2004), “Total Enlightenment. Conceptual Art in Moscow 1960-1990” (Schirn, 2008) and “Medium Religion” (with Peter Weibel) at the ZKM (2009).

Friedrich Wolfram Heubach: Zur allgemeinen Debilisierung der Gesellschaft unter besonderer Berücksichtigung des Kunstbetriebs
Donnerstag, 2. Juli, 19 Uhr, Aula

Es wird zur Sprache kommen, wovon der Titel handelt.

Friedrich Wolfram Heubach gründete 1968 die legendäre Kunst/Künstler-Zeitschrift >interfunktionen<, deren Herausgeber er bis 1972 war; Nach der Habilitation im Fach Psychologie unterrichtete er bis 1989 an der Universität zu Köln und bis 1992 an der Hochschule für Bildende Künste, Hamburg; anschließend wechselte er auf den Lehrstuhl für Psychologie an der Kunstakademie Düsseldorf.
Seine wohl bekanntesten Veröffentlichungen sind (u.a.): Das bedingte Leben - Theorie der psychologischen Gegenständlichkeit der Dinge (München 1987) und Ein Bild und sein Schatten - Zum Bild der Melancholie und zur Erscheinung der Depression (Bonn 1996).

Diedrich Diederichsen: The Time and Space of Judgment
Friday, 3rd July, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

This lecture addresses different concepts of criticism and distinguishes between 1) an endless processual criticality, 2) clear normative judgments and 3) a third version of criticism that can be traced back to those types of judgmental behaviors that deal with time-related events as in sport, music or other areas.

Diedrich Diederichsen is professor of Theorie, Praxis und Vermittlung von Gegenwartskunst of the Academy of Fine Arts Vienna.

DANIEL BIRNBAUM / MARIE ANGE BRAYER

2009-06-19T12:13:00.000+02:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Daniel Birnbaum: The Critic and the Curator
Wednesday, 24th June, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

What is the role of the art critic today? What is the role of the curator? Daniel Birnbaum gives some examples from recent projects.

Beside his rectorship and teaching at the Städelschule and his curatorial practice as director of Portikus Daniel Birnbaum has been involved in several biennials in recent years: in the 50th Venice Biennale, the Moscow Biennials and as a committee member of the International Foundation Manifesta. In 2008, he was co-curator of the Triennial of Yokohama and curator of the 2nd Triennial of Turin. In the period between 2006 and 2007, he co-curated Airs de Paris at the Centre Pompidou and of Uncertain States of America (with Hans-Ulrich Obrist) at Bard College of London’s Serpentine Gallery. A contributing editor of Artforum, he has published numerous books and essays on philosophy and art, including The Hospitality of Presence: Problems of Otherness in Husserl’s Phenomenology (1998), and, with Carsten Höller, Production (2000). His most recent publication is Chronology (2005) beside the numerous catalogues and publications in the framework of Städelschule and Portikus.

The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009

Marie Ange Brayer: Towards Machinic Environments: From Model to Machine

Thursday, 25th June, 19h, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

The conceptual practices that emerged in the 1960s through radical architecture in Europe were linked to a networked society in which architecture is no longer a built object, but becomes an environment with which the individual interacts. Within these radical movements, from Archigram to Superstudio, architecture is adapted to all scales, from domestic to urban, in the temporality of the instant and the action. Constant developed „New Babylon“ in which architecture has become an « atmospheric machine ». Today information technologies networks and computational design understand architecture as a dynamic environment. Architecture implements new concepts in a complex living system where a calculated, « machinic » nature has replaced the representational or allegorical nature of the “model”.

Since 1996, Marie-Ange Brayer has been the director of the Centre Regional Contemporary Art Collection [FRAC, Centre] in Orléans, France, where the collection is channeled towards the linkage between art and research architecture. The FRAC centre has been putting together a collection on architecture in its utopian and experimental dimension, from the 1950s until the present day. She has curated ARCHILAB (2001 and 2002) and the French Pavilion at the 8th International Architectural Biennale in Venice (2002). She is currently working on a PhD at the EHESS (School of Advanced Studies in the Social Sciences) in Paris, retracing the legal status of the architectural model since the Renaissance, by way of a history of representation ("A model object, the architectural maquette"). In 2008 she was a co-curator of the exhibition « Youniverse », 3rd International Biennial of Contemporary Art of Sevilla, curated by Peter Weibel.

CHRISTOPH MENKE / GEORGE L. LEGENDRE

2009-06-16T16:37:00.000+02:00

Herzliche Einladung zu den Veranstaltungen der Städelschule!

Talk
Christoph Menke: The Aesthetic Critique of Judgment
Response: Isabelle Graw/Daniel Loick
Wednesday, 17. June, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

This talk will address the question of aesthetic judgment. It will shift the attention away from the usual fixation on criteria and focus instead on more fundamental questions, such as: what is the role of judgment in the aesthetic field? How do we judge in aesthetic matters and why do we judge at all? It is the aesthetic judgment itself that is presented as a problem full of paradoxes.
Christoph Menke is professor of philosophy at the University Frankfurt/Main. He is the author of seminal studies on aesthetic such as "Die Souveränität der Kunst: Ästhetische Erfahrung nach Adorno und Derrida" (1988) or "Die Gegenwart der Tragödie. Versuch über Urteil und Spiel" (2005). He also contributed to the debates around political philosophy, as with "Spiegelungen der Gleichheit" (2000) or "Philosophie der Menschenrechte" (2007). He regularly contributes to "Texte zur Kunst."

The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009

George L. Legendre: Surface Goodness
Thursday, 18. June, 19h, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Exploring the intersection between spaces, mathematics, and computation, George L. Legendre has developed a body of work that oscillates around the notion of “surface”. The literal and metaphoric meanings of the “superficial”, statements of computer programming syntax, indexical poetry, mathematical asides and descriptions of nemmerically controlled fabrication processes – all of which offer the very same thing: the surface as object of knowledge.

George L. Legendre is a London-based architect and educator. He graduated from Harvard Graduate School of Design in 1994 and served as lecturer and Assistant Professor of Architecture at the GSD from 1995 to 2000. Prior to founding IJP Corporation (IJP), his London-based office, he was visiting Professor at the ETH Zurich (2001), Princeton University (2003-05), and the Architectural Association in London, where he served as Unit Master of Diploma Unit 5 (2002-2008). His practice has just completed Henderson Waves, a 1000-foot-long bridge located in Singapore. In 2007, the influential UK weekly Building Design elected the 3-year-old office as one of the top 5 practices in Britain led by principals under the age of 40.

The work of George L. Legendre has been featured worldwide, most recently as the cover feature of AA Files 57 (London 2007), Architectural Review, and Icon Magazine (both London 2008). A regularly published essayist, George L. Legendre has written IJP:The Book of Surfaces, as well as Bodyline: the End of our Meta-Mechanical Body, and a Critical essay in Mathematical Form: John Pickering and the Architecture of the Inversion Principle (all AA Publications, 2003-06).