Vortrag
Georges Didi-Hubermann: Photos, Pathos, Pothos – L'«Image Vivante» Selon Roland Barthes
Institut für Kunstkritik
Freitag, 9. November 2012, 19 Uhr, Lichthalle
With more than 30 publications dedicated to the history and theory of images, Georges Didi-Huberman is one of the most recognized French intellectuals. As a philosopher and art historian, he has published prolific books such as «Ce que nous voyons, ce qui nous regarde» (1992) and «Images in Spite of all: Four Photographs from Auschwitz» (2012). Didi-Huberman teaches at the Ecole des Hautes Etudes en Sciences Sociales and curated several exhibitions including «L'Empreinte» at Centre Georges Pompidou (1997) and «ATLAS. How to Carry the World on One's Back?» at the ZKM in Karlsruhe (2011).
A Project within the Framework of the European Cultural Days of the ECB - France 2012
in Cooperation with Institut Français D' Historie en Allemagne
Dienstag, 6. November 2012
Gelitin
Vortrag
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
Montag, 22. Oktober 2012
David Cunningham
Vortrag
David Cunningham: Discontinuity, Digression and Non-Intentionality
Dienstag, 23. Oktober 2012, 19 Uhr, Aula
Some people know David Cunningham's work as an artist whose installations explore the spectator's real time experience of the acoustic properties of a space. Others are more familiar with his parallel life as a record producer and musician who over many years has worked with an eclectic range of people, amongst many others The Flying Lizards, Michael Nyman, Johnny Thunders and Martin Creed. As composer, producer or performer Cunningham is driven by a strong impulse to collaborate which is directed in his artwork not only towards the musicians or artists he has worked with but crucially to the audience as well.
This is integral to his installation works which have inhabited the 11th Biennale of Sydney, Tate Britain, ICC Tokyo, Ikon Birmingham and more recently 1m3 Lausanne. These installations articulate the acoustics of a space in real time, an audible phenomenon integrated with the presence of the spectator.
Die Veranstaltung findet in englischer Sprache statt.
David Cunningham: Discontinuity, Digression and Non-Intentionality
Dienstag, 23. Oktober 2012, 19 Uhr, Aula
Some people know David Cunningham's work as an artist whose installations explore the spectator's real time experience of the acoustic properties of a space. Others are more familiar with his parallel life as a record producer and musician who over many years has worked with an eclectic range of people, amongst many others The Flying Lizards, Michael Nyman, Johnny Thunders and Martin Creed. As composer, producer or performer Cunningham is driven by a strong impulse to collaborate which is directed in his artwork not only towards the musicians or artists he has worked with but crucially to the audience as well.
This is integral to his installation works which have inhabited the 11th Biennale of Sydney, Tate Britain, ICC Tokyo, Ikon Birmingham and more recently 1m3 Lausanne. These installations articulate the acoustics of a space in real time, an audible phenomenon integrated with the presence of the spectator.
Die Veranstaltung findet in englischer Sprache statt.
HANS-PETER FELDMANN & HANS ULRICH OBRIST
Vortrag
Hans-Peter Feldmann im Gespräch mit Hans Ulrich Obrist
Montag, 22. Oktober 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Hans-Peter Feldmann lebt und arbeitet in Düsseldorf. Wichtigste Werke Feldmanns in der Sammlung des MMK sind die Serie Die Toten, 1967 – 1993 (1996 – 1998) und Das Kinderzimmer (2002).
Hans Ulrich Obrist ist Kurator und Kritiker. Seit 2006 Co-Direktor der Serpentine Gallery in London.
Mit dem Künstler und dem Kurator treffen beim nächsten MMK Talk zwei alte Bekannte aufeinander. Feldmann und Obrist arbeiteten bereits 1991 im Rahmen der ersten von Obrist kuratierten Ausstellung "The Kitchen Show" zusammen, bei der die Küche des Kurators in St. Gallen zum Ausstellungsraum wurde. Seitdem trafen sie in öffentlichen Gesprächen mehrfach aufeinander. Für Obrists "The Interview Project" (2010) antwortete Feldmann jeweils mit Bildern auf die schriftlichen Interviewfragen.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Hans-Peter Feldmann im Gespräch mit Hans Ulrich Obrist
Montag, 22. Oktober 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Hans-Peter Feldmann lebt und arbeitet in Düsseldorf. Wichtigste Werke Feldmanns in der Sammlung des MMK sind die Serie Die Toten, 1967 – 1993 (1996 – 1998) und Das Kinderzimmer (2002).
Hans Ulrich Obrist ist Kurator und Kritiker. Seit 2006 Co-Direktor der Serpentine Gallery in London.
Mit dem Künstler und dem Kurator treffen beim nächsten MMK Talk zwei alte Bekannte aufeinander. Feldmann und Obrist arbeiteten bereits 1991 im Rahmen der ersten von Obrist kuratierten Ausstellung "The Kitchen Show" zusammen, bei der die Küche des Kurators in St. Gallen zum Ausstellungsraum wurde. Seitdem trafen sie in öffentlichen Gesprächen mehrfach aufeinander. Für Obrists "The Interview Project" (2010) antwortete Feldmann jeweils mit Bildern auf die schriftlichen Interviewfragen.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Mittwoch, 26. September 2012
Navigations
We cordially invite you to an afternoon symposium (in English)
Saturday, Sept. 29, 2012
4 pm, Robin Mackay
- Speculative Realism / Urbanomic
5 pm, Jan Verwoert
- “How Do I Know That What I Saw Last Night Was Real and Not Just Fantasy?”
Jol Thomson has invited guests Robin Mackay and Jan Verwoert to give presentations in the form of a symposium. The artist, instead of presenting his own object-oriented art works, offers the possibility of self-education and an investigation into the system of references that make up any (art) practice. These critically engaging lectures echo motives, which can be found throughout projects of the festival as a whole.
This project began from considering an art practice as a necessarily historical engagement with the past: "Art as citation". Jol Thomson summons and quotes the guest speakers, hosting an elaboration of the term ‘’artistic research’’ in order to define possible works from a possible future. Following this protracted inversion of time, he is interested in an approach that makes the future and past collide as a medium in the present, manifesting the referential as a “living” citation that is summoned from mutual directions in time. It is both the person speaking and the shadow of the person speaking that also defines the historical person from tomorrow.
Lecture at 4 pm,
Robin Mackay is a philosopher and director of UK publishing and arts organization Urbanomic, which promotes research activities addressing issues in philosophy and science and their correlation to contemporary art practice - it aims to engender interdisciplinary thinking and production. Robin Mackay will present and discuss his work as a publisher, curator and philosopher in the broad and intriguing field of interdisciplinary investigation tht is speculative realisms and geo-philosophy.
Lecture at 5 pm
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. He is a contributing editor of frieze magazine, his writing has appeared in different journals, anthologies and monographs. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006 and the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010. His talk is, "On the vivid yet unverifiable reality of feelings, memories, inspirations, and other things that go bump in the night".
Navigations
Symposium (in English)
Hauptgebäude, Hörsaal A
Uni. Campus Bockenheim
Saturday, Sept. 29, 2012
4 pm, Robin Mackay
- Speculative Realism / Urbanomic
5 pm, Jan Verwoert
- “How Do I Know That What I Saw Last Night Was Real and Not Just Fantasy?”
Jol Thomson has invited guests Robin Mackay and Jan Verwoert to give presentations in the form of a symposium. The artist, instead of presenting his own object-oriented art works, offers the possibility of self-education and an investigation into the system of references that make up any (art) practice. These critically engaging lectures echo motives, which can be found throughout projects of the festival as a whole.
This project began from considering an art practice as a necessarily historical engagement with the past: "Art as citation". Jol Thomson summons and quotes the guest speakers, hosting an elaboration of the term ‘’artistic research’’ in order to define possible works from a possible future. Following this protracted inversion of time, he is interested in an approach that makes the future and past collide as a medium in the present, manifesting the referential as a “living” citation that is summoned from mutual directions in time. It is both the person speaking and the shadow of the person speaking that also defines the historical person from tomorrow.
Lecture at 4 pm,
Robin Mackay is a philosopher and director of UK publishing and arts organization Urbanomic, which promotes research activities addressing issues in philosophy and science and their correlation to contemporary art practice - it aims to engender interdisciplinary thinking and production. Robin Mackay will present and discuss his work as a publisher, curator and philosopher in the broad and intriguing field of interdisciplinary investigation tht is speculative realisms and geo-philosophy.
Lecture at 5 pm
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. He is a contributing editor of frieze magazine, his writing has appeared in different journals, anthologies and monographs. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006 and the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010. His talk is, "On the vivid yet unverifiable reality of feelings, memories, inspirations, and other things that go bump in the night".
Navigations
Symposium (in English)
Hauptgebäude, Hörsaal A
Uni. Campus Bockenheim
Donnerstag, 2. August 2012
Das Festival der jungen Talente!
27. – 30. September 2012, Eröffnung: 27. September, 19 Uhr, Campus Bockenheim der Goethe-Universität und Senckenberg Naturmuseum, Frankfurt am Main
www.festivaljungertalente.de
www.festivaljungertalente.de
Mit Arbeiten von María Fernández-Aragón, Tilmann Aumüller, Bianca Baldi, Mathias Bär, Sulamith Bereiter, Philipp Bergmann, Elisa Caldana, Lena Ditlmann, Gal Fefferman, Timothy Furey, Gregor Glogowski, Benedikt Grubel, Seung Hee, Vytautas Jurevicius, Theresa Kampmeier, Arne Salasse, Margarethe Kollmer, Nadine Eleni Kolodziey, Lutz Krietenbrink, Tom Król, Tonio Kröner, Philipp Krüger, Veit Laurent Kurz, Melanie Matthieu, Carolin Millner, Robert Müller, Jonathan Penca, Manuel Roßner, Rushy Rush, Anja Sauer, Daniel Schauf, Ruth Schmidt, Matthias Schönijahn, Jan Philipp Stange, Nele Stuhler, Martin Tanšek, Jol Thomson u.a.
Das diesjährige Festival der jungen Talente! baut erstmalig auf ein Seminar der Kuratorin Anja Nathan-Dorn mit den teilnehmenden Studierenden auf. Die jungen Künstler_innen und die ehemalige Co-Direktorin des Kölnischen Kunstvereins, bekannt für ihr innovatives Ausstellungs- und Veranstaltungsprogramm, sowie zahlreiche interdisziplinäre Kooperationen, haben so gemeinsam das Festival unter dem Titel Simulation, Adaption, Illusion und Pose inhaltlich vorbereitet.
Diese sind Begriffe, die mit einem Übermaß an Inszenierung, Künstlichkeit und Realitätsfremdheit in Verbindung gebracht werden, die aber Alltag und Politik in einer mediatisierten Welt längst zu bestimmen scheinen. Es soll das Verhältnis hinterfragt werden, in welchem eine derartige Leistungsschau junger Kunst zu einer Gesellschaft steht, die von jedem/jeder einzelnen tagtäglich bestmögliche Performance, Kreativität und Selbstdarstellung verlangt.
Studierende der Bildenden Kunst, des Kommunikationsdesigns, des Tanzes, der Komposition, der Regie, der Theaterwissenschaft und der Dramaturgie präsentieren über zwanzig Performances, Installationen, Malerei und Fotografie in den Foyers des ehemaligen Hauptgebäudes der Goethe-Universität auf dem Campus Bockenheim (Jügelhaus), das Hörsaalgebäude und der Labsaal (die ehemalige Mensa der Universität) sowie ein Ausstellungsraum des Senckenberg Naturmuseums Frankfurt am Main.
Montag, 9. Juli 2012
Nora Schultz
Performance
Nora Schultz
Freitag, 13. Juli 2012, 19 Uhr, Portikus
Nora Schultz’s show is the first solo exhibition to occupy the lower as well as the temporary upper floor at Portikus. She uses the duality within the space to develop parallel production cycles composed of sculptural sound works and printing installations that repeatedly intersect over the course of the show. Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible.
For the second time since the opening of the exhibition, Nora Schultz will present a performance. She activates the "Portikus Printing Plant" in order to produce additional prints to be displayed in a new exhibition layout. The exhibition continues to change and evolve during its course, which further underlines the artist's interest in visualizing production processes.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Freitag, 13. Juli 2012, 19 Uhr, Portikus
Nora Schultz’s show is the first solo exhibition to occupy the lower as well as the temporary upper floor at Portikus. She uses the duality within the space to develop parallel production cycles composed of sculptural sound works and printing installations that repeatedly intersect over the course of the show. Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible.
For the second time since the opening of the exhibition, Nora Schultz will present a performance. She activates the "Portikus Printing Plant" in order to produce additional prints to be displayed in a new exhibition layout. The exhibition continues to change and evolve during its course, which further underlines the artist's interest in visualizing production processes.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Alejandro Zaera-Polo
Dean´s Honorary Lecture
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Karl Holmqvist
Vortrag
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Dienstag, 3. Juli 2012
Renzo Martens
Vortrag
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Helmut Krausser
Vortrag
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Simon Denny: Information Design Attempts
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Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
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Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Scroll down for German version!
Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
/
Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Freitag, 15. Juni 2012
Peter Cook
Vortrag
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Marc Camille Chaimowicz
Vortrag
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
Dienstag, 12. Juni 2012
Michael Riedel
Vortrag
Michael Riedel: 8 Kunst & Publikation
Dienstag, 12. Juni 2012, 19 Uhr, Aula
... ich spreche über meine Publikationen aus den Jahren 97 bis 2010 der Vortrag dauert fünfundvierzig Minuten das sind etwa dreihundertsiebzig Bilder die ich zeigen werde davon sind sechzig schwarz eine meiner ersten Publikationen 1997 war eine Papiertüte auf die ich meinen Namen geschrieben hatte sie ist entstanden anlässlich eines Vortrags den ich gehalten habe an der Städelschule während meines Studiums in dem Vortrag ging es um Möglichkeiten Entdecke die Möglichkeiten hieß es damals bei Ikea oder auch Das Leben ist voller Möglichkeiten Audi und Nichts ist unmöglich Toyota und mit zunehmendem Maße ging es um die Möglichkeit an sich und der Existenz die an der Möglichkeit zu existieren scheitert so hieß es zumindest damals im Vortrag und der Vortrag endet damit dass ich mir diese Tüte aufsetze und sage ich bin Michael Riedel Beschriftung ist immer etwas von außen angebrachtes und in diesem Fall bin ich derjenige der außen steht und sich selbst beschriftet mit anderen Worten ich bin nicht mehr nur der Künstler der Kunst macht sondern vielmehr auch der Künstler der sich beim Kunst machen zuschaut und das als Kunst versteht damit verschiebt sich auch die Position des Betrachters der jetzt zuschauen muss wie der Künstler sich selbst zuschaut beim Machen ... Auszug aus dem Text "Publikation" (veröffentlicht in "Perlstein" – Michael Riedel, Koenig Books London, 2011)
Michael Riedel is known for his conceptual practice of restaging prior events and re-presenting existing texts, objects and audio recordings. Over the past decade, the artist's highly conceptual practice has embodied a wide range of mediums and formats, including large-scale works on canvas, fabric works, film and video, audio recordings, artist's books, posters, installations and events.
Michael Riedel: 8 Kunst & Publikation
Dienstag, 12. Juni 2012, 19 Uhr, Aula
... ich spreche über meine Publikationen aus den Jahren 97 bis 2010 der Vortrag dauert fünfundvierzig Minuten das sind etwa dreihundertsiebzig Bilder die ich zeigen werde davon sind sechzig schwarz eine meiner ersten Publikationen 1997 war eine Papiertüte auf die ich meinen Namen geschrieben hatte sie ist entstanden anlässlich eines Vortrags den ich gehalten habe an der Städelschule während meines Studiums in dem Vortrag ging es um Möglichkeiten Entdecke die Möglichkeiten hieß es damals bei Ikea oder auch Das Leben ist voller Möglichkeiten Audi und Nichts ist unmöglich Toyota und mit zunehmendem Maße ging es um die Möglichkeit an sich und der Existenz die an der Möglichkeit zu existieren scheitert so hieß es zumindest damals im Vortrag und der Vortrag endet damit dass ich mir diese Tüte aufsetze und sage ich bin Michael Riedel Beschriftung ist immer etwas von außen angebrachtes und in diesem Fall bin ich derjenige der außen steht und sich selbst beschriftet mit anderen Worten ich bin nicht mehr nur der Künstler der Kunst macht sondern vielmehr auch der Künstler der sich beim Kunst machen zuschaut und das als Kunst versteht damit verschiebt sich auch die Position des Betrachters der jetzt zuschauen muss wie der Künstler sich selbst zuschaut beim Machen ... Auszug aus dem Text "Publikation" (veröffentlicht in "Perlstein" – Michael Riedel, Koenig Books London, 2011)
Michael Riedel is known for his conceptual practice of restaging prior events and re-presenting existing texts, objects and audio recordings. Over the past decade, the artist's highly conceptual practice has embodied a wide range of mediums and formats, including large-scale works on canvas, fabric works, film and video, audio recordings, artist's books, posters, installations and events.
Montag, 4. Juni 2012
Nairy Baghramian
Vortrag
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Mittwoch, 30. Mai 2012
Can Altay
Lecture
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Nora Schultz
Lecture
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Montag, 21. Mai 2012
Carsten Nicolai
Vortrag
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Suhail Malik
Vortrag
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Dienstag, 15. Mai 2012
Gayatri Spivak
Vortrag
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Montag, 14. Mai 2012
COSIMA VON BONIN AND MORITZ VON OSWALD
Vortrag
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
Dienstag, 8. Mai 2012
Superflex
Vortrag
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Mittwoch, 25. April 2012
African Cinema Series
African Cinema Series, 9. – 13. Mai 2012
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Montag, 23. April 2012
Peter Greenaway
Vortrag
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Etcetera…
Vortrag
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Richard Jackson
Vortrag
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Dienstag, 7. Februar 2012
Rundgang 2012
Rundgang – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
Pressemitteilung: download
Freitag, 10. – Sonntag, 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, eine 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 180 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: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" 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.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" 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
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Pressemitteilung: download
Freitag, 10. – Sonntag, 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, eine 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 180 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: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" 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.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" 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
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Dienstag, 31. Januar 2012
Eyal Weizman
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.
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
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.
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.
Sonntag, 22. Januar 2012
Brigitte Weingart
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.
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
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.
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.
Dienstag, 17. Januar 2012
John Levack Drever
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.
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.
Freitag, 13. Januar 2012
Montag, 12. Dezember 2011
Beate Söntgen
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: 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
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: 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.
Montag, 5. Dezember 2011
Judith Hopf
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.
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.
Donnerstag, 24. November 2011
Andrea Fraser
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.
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
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.
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.
Donnerstag, 10. November 2011
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
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.
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?
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.
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
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.
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.
Donnerstag, 27. Oktober 2011
TARYN SIMON
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.
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.
Montag, 24. Oktober 2011
Jalal Toufic
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.
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.
Mittwoch, 12. Oktober 2011
Mark von Schlegell
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.
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.
Dienstag, 20. September 2011
ENCORE
"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.
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.
Montag, 18. Juli 2011
Flaca / Tom Humphreys
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.
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.
Montag, 27. Juni 2011
SIMON STARLING
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)].
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)].
Donnerstag, 23. Juni 2011
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
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
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
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
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
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