Vortrag
Jonas Mekas & Douglas Gordon
Dienstag, 24. November 2015, 17 Uhr, Aula
Jonas Mekas in conversation with the artist Douglas Gordon who takes Mekas' Diaries "I Had Nowhere to Go" as the starting point for a new work.
Jonas Mekas (*1922) is a legendary filmmaker, author, poet and co-founder of the Anthology Film Archives in New York. Mekas was born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first films there. Mekas developed a form of film diary in which he recorded moments of his daily life. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958, he published his legendary “Movie Journal” column in The Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists like Andy Warhol, Susan Sontag, John Lennon & Yoko Ono, Erick Hawkins, and Nam June Paik.
Douglas Gordon’s practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong.
Gordon’s oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival,. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in the same year, the Käthe-Kollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival.
Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Until then in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv.
Der Vortrag findet in englischer Sprache statt.
Gespräch
Dienstag, 24. November 2015, 20.15 Uhr, Deutsches Filmmuseum, Frankfurt am Main
Conversation with Jonas Mekas, Anne King (Spector Books) and Natascha Gikas (Deutsches Filmmuseum) to "Scrapbook of the Sixties" and screening of film clips from "Life of a Happy Man", 2012.
Spector Books collected published and unpublished texts by Jonas Mekas in "Scrapbook of the Sixties”. Mekas’ writings reveal him as a thoughtful diarist and an unparalleled chronicler of the times—a practice that he has continued now for over fifty years.
Jonas Mekas:
"SCRAPBOOK
OF THE SIXTIES "
WRITINGS
1954 - 2010
PUBLISHED BY SPECTOR BOOKS
EDITED BY ANNE KÖNIG
LAYOUT
FABIAN BREMER & PASCAL STORZ
456 PAGES, 92 B/W IMAGES,
SOFT COVER
ISBN 978-3-95905-033-3
Dienstag, 17. November 2015
Nicolaus Schafhausen: On Democracy and Biennales
Vortrag Curatorial Studies
Nicolaus Schafhausen: On Democray and Biennales
Dienstag, 19. Januar 2016, 19 Uhr, Aula
What does the formation of a Biennale really mean? How can the function of a Biennale act to bridge the historical past with ideas for the future? Nicolaus Schafhausen will discuss his recent curatorial project The 6th Moscow Biennale 2015.
How do international art events transgress the boundaries of art and into the field of politics and international relations? Biennales connect nation states and cultures of the world. The Bienniale should be a public space for art, in other words, a space where art and thinking may resonate, propelled by their initial momentum, but pushing beyond this. If there is anything specific about the Bienniale, it is in the fact that it is bluntly radical, in the original sense of the word; it wants to go back to the roots of what we all continuously aim for, at least in principle. It is a space that is not defined by its apparatus, its architecture, its titles and the themes and rhetorics surrounding it. It is a space that comes into existence continuously, in a multitude of moments that we may grasp or fail to grasp, in any of the gestures and thoughts that are unfolding like a dance, weaving potential into shreds of possibility.
Nicolaus Schafhausen is a curator, director, author, and educator. He is Director of Kunsthalle Wien and a Visiting Lecturer at HISK, Higher Institute for Fine Arts, Gent. He is currently on the Board of Directors at Fogo Island Arts, where he has served as Strategic Advisor since 2011. Fogo Island Arts is an initiative of the Canadian Shorefast Foundation to find alternative solutions for the revitalisation of an area that is prone to emigration. Schafhausen has curated a number of international festivals and exhibitions such as “Media City Seoul” 2010 or the “Dutch House” for the Expo 2010 in Shanghai. In 2007 and 2009 he was the curator of the German Pavilion for the 52nd and 53rd Venice Biennale, and for the 56th Venice Biennale he curated the Kosovo Pavilion in 2015.
Der Vortrag findet in englischer Sprache statt.
Nicolaus Schafhausen: On Democray and Biennales
Dienstag, 19. Januar 2016, 19 Uhr, Aula
What does the formation of a Biennale really mean? How can the function of a Biennale act to bridge the historical past with ideas for the future? Nicolaus Schafhausen will discuss his recent curatorial project The 6th Moscow Biennale 2015.
How do international art events transgress the boundaries of art and into the field of politics and international relations? Biennales connect nation states and cultures of the world. The Bienniale should be a public space for art, in other words, a space where art and thinking may resonate, propelled by their initial momentum, but pushing beyond this. If there is anything specific about the Bienniale, it is in the fact that it is bluntly radical, in the original sense of the word; it wants to go back to the roots of what we all continuously aim for, at least in principle. It is a space that is not defined by its apparatus, its architecture, its titles and the themes and rhetorics surrounding it. It is a space that comes into existence continuously, in a multitude of moments that we may grasp or fail to grasp, in any of the gestures and thoughts that are unfolding like a dance, weaving potential into shreds of possibility.
Nicolaus Schafhausen is a curator, director, author, and educator. He is Director of Kunsthalle Wien and a Visiting Lecturer at HISK, Higher Institute for Fine Arts, Gent. He is currently on the Board of Directors at Fogo Island Arts, where he has served as Strategic Advisor since 2011. Fogo Island Arts is an initiative of the Canadian Shorefast Foundation to find alternative solutions for the revitalisation of an area that is prone to emigration. Schafhausen has curated a number of international festivals and exhibitions such as “Media City Seoul” 2010 or the “Dutch House” for the Expo 2010 in Shanghai. In 2007 and 2009 he was the curator of the German Pavilion for the 52nd and 53rd Venice Biennale, and for the 56th Venice Biennale he curated the Kosovo Pavilion in 2015.
Der Vortrag findet in englischer Sprache statt.
Montag, 16. November 2015
Keith Connolly und Tom Thayer: IT’S HOUSE
Konzert
Keith Connolly und Tom Thayer: IT’S HOUSE
Freitag, 4. Dezember 2015, 21 Uhr, Mousonturm Frankfurt
A multimedia performance portrayal the album of the same name, produced by L. GRAY for HALATERN, etc. Through IT’S HOUSE, Thayer + Gray collaboratively unpack shifting + subjective palaces of memory, revisiting places real + imagined, to transform the idea of set duration in pursuit of an as yet unrealized EVACUATION MUSIC.
“Working in animation, installation, and music, TOM THAYER employs a ‘naïve’ look to provide access to a variety of experiences often marginalized by art: adolescent obsessions, visionary mythologies, and private fantasies that delve deep into the unsettled recesses of gesture and mimetic storytelling… As an educator, Thayer is interested in theories of collaborative pedagogy, including the musical experimentation developed in England around Cornelius Cardew and his Scratch Orchestra, a compositional project conducted entirely by untrained, amateur participants. In Thayer’s own collaborative workshops, theatrical scenarios—including shadow puppetry and sound collage—are intended to ignite what he calls the “creative power of collective action.” His longstanding interest in psychedelia, seen from this perspective, takes on new significance: the psychedelic, before it was consigned to a period style, aimed for a new form of sociability
based on unmediated sensory communication. Through his work, Thayerrevives its potential.
—Michael Sanchez"
L. GRAY is the performing anonym of KEITH CONNOLLY a founding member of The No-Neck Blues Band (NNCK), an improvised music collective based in NYC for 20+ years. In addition to his work with NNCK, he is the co-creator (along with curator Jay Sanders) of the NUMINA lente festival, as well as part of the theater company New York City Players, and a contributing music editor for BOMB magazine.
Ermässigter AK Eintritt 5 € für Studierende der Städelschule mit Studentenausweis.
VVK: www.mousonturm.de/web/en/veranstaltung/its-house
Keith Connolly und Tom Thayer: IT’S HOUSE
Freitag, 4. Dezember 2015, 21 Uhr, Mousonturm Frankfurt
A multimedia performance portrayal the album of the same name, produced by L. GRAY for HALATERN, etc. Through IT’S HOUSE, Thayer + Gray collaboratively unpack shifting + subjective palaces of memory, revisiting places real + imagined, to transform the idea of set duration in pursuit of an as yet unrealized EVACUATION MUSIC.
“Working in animation, installation, and music, TOM THAYER employs a ‘naïve’ look to provide access to a variety of experiences often marginalized by art: adolescent obsessions, visionary mythologies, and private fantasies that delve deep into the unsettled recesses of gesture and mimetic storytelling… As an educator, Thayer is interested in theories of collaborative pedagogy, including the musical experimentation developed in England around Cornelius Cardew and his Scratch Orchestra, a compositional project conducted entirely by untrained, amateur participants. In Thayer’s own collaborative workshops, theatrical scenarios—including shadow puppetry and sound collage—are intended to ignite what he calls the “creative power of collective action.” His longstanding interest in psychedelia, seen from this perspective, takes on new significance: the psychedelic, before it was consigned to a period style, aimed for a new form of sociability
based on unmediated sensory communication. Through his work, Thayerrevives its potential.
—Michael Sanchez"
L. GRAY is the performing anonym of KEITH CONNOLLY a founding member of The No-Neck Blues Band (NNCK), an improvised music collective based in NYC for 20+ years. In addition to his work with NNCK, he is the co-creator (along with curator Jay Sanders) of the NUMINA lente festival, as well as part of the theater company New York City Players, and a contributing music editor for BOMB magazine.
Ermässigter AK Eintritt 5 € für Studierende der Städelschule mit Studentenausweis.
VVK: www.mousonturm.de/web/en/veranstaltung/its-house
Samstag, 7. November 2015
Syrischer Abend
Syrischer Abend
Donnerstag, 12. November 2015, ab 17:30 Uhr
Filmvorführung in Anwesenheit des Regisseurs Ossama Mohammed
MA’AL AL-FIDDA Silvered Water – Syria Self Portrait
17:30 Uhr, Filmmuseum, Schaumainkai 41, 60596 Frankfurt am Main
Der syrische Filmemacher Ossama Mohammed lebt seit 2011 im Pariser Exil, doch die Bilder aus seiner Heimat, gefilmt von Aktivisten, lassen ihn nicht los. Als ihn die junge kurdische Regisseurin Wiam Simav Bedirxan aus Homs kontaktiert, die die Bombenangriffe auf die Stadt dokumentiert hat, beginnt ein Austausch der beiden Filmemacher. Entstanden ist ein so aufwühlender wie wahrhaftiger Film, der in einem Mosaik aus Youtube-Videos und Dokumentaraufnahmen einen Dialog in Bildern entwirft. Der ergreifende Monolog über das Exil lädt zum Nachdenken über die Kraft der Bilder ein.
Frankreich/Syrien 2014. R: Ossama Mohammed, Wiam Simav Bedirxan.
Dokumentarfilm. 92 Min., DCP OmeU englische Untertitel
Wir bitten um Ticketreservierung: http://deutsches-filminstitut.de/blog/lets-talk-about-syria/
Künstlergespräch: # Lets_talk_about_Syria
Elias Perabo, Ossama Mohammed, Khaled Barakeh u.a.
ca. 19:15 Uhr, Aula Städelschule
In conjunction with Film Museum and Städelschule, Khaled Barakeh will moderate a dialogue on the current situation in Syria.
Elias Perabo is a political scientist. He was traveling through Syria in April 2011 when the Syrian Spring erupted. He saw with his own eyes how the land changed from one day to the next, as the people lost their fear and began to go out on the street. At first he worked on the establishment of international media relations for Syrian activists, later he developed a broad network of contacts and co-founded Adopt a Revolution.
The Adopt a Revolution project was launched by Syrian and German activists in 2011 in the face of the brutal persecution of the peaceful uprising against the regime of Bashar al-Assad. The project has the following four objectives: Financial Support, Build a Bridge of Solidarity, Knowledge Transfer and Civil Intervention. Its an initiative that allows individuals and civil society groups outside of Syria to "adopt" a Syrian activist group of their choice and help it to survive and succeed in the uprising.
Born in Latakia in 1954, Ossama Mohammed graduated from the Russian State Institute of Cinematography (VGIK) in 1979. His first fiction feature 'Stars in Broad Daylight - 1988' was selected at the Cannes Film Festival, and earned the filmmaker great critical praise, including the Golden palm at the Valencia Festival. Complex and visually stunning, his second feature film 'Sacrifices - 2002' has confirmed its maker as one of the Soviet film school's graduates most individual and masterful filmmakers. Ossama Mohammed won lots of international film festivals' prizes around the world.
After 2011 in the forced exile in Paris, Ossama Mohammed began a new cinematic adventure, Silvered Water - Syria Self- Portrait' Shot by a reported '1,001 Syrians', the film impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in this dreams by a Syrian boy once shot to death for snatching his camera on the street.
Born in 1976 in Damascus Suburb, Khaled Barakeh graduated in 2005 from the Faculty of Fine Arts in Damascus, Syria, and completed his MFA at Funen Art Academy in 2010 in Odense, Denmark. He has exhibited at the Künstlerhaus Stuttgart; Golden Thread Gallery, Northern Ireland; Kunsthalle Brandts; Ovegarden, Denmark; Smack Mellon in New York City; and many other institutions. Barakeh finished his Meisterschüler with Simon Starling, at the Städelschule Academy of Fine Arts in Frankfurt am Main in 2013.
Syrian specialties will be served by Städelschules Kochwerkstatt.
Die Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Donnerstag, 12. November 2015, ab 17:30 Uhr
Filmvorführung in Anwesenheit des Regisseurs Ossama Mohammed
MA’AL AL-FIDDA Silvered Water – Syria Self Portrait
17:30 Uhr, Filmmuseum, Schaumainkai 41, 60596 Frankfurt am Main
Der syrische Filmemacher Ossama Mohammed lebt seit 2011 im Pariser Exil, doch die Bilder aus seiner Heimat, gefilmt von Aktivisten, lassen ihn nicht los. Als ihn die junge kurdische Regisseurin Wiam Simav Bedirxan aus Homs kontaktiert, die die Bombenangriffe auf die Stadt dokumentiert hat, beginnt ein Austausch der beiden Filmemacher. Entstanden ist ein so aufwühlender wie wahrhaftiger Film, der in einem Mosaik aus Youtube-Videos und Dokumentaraufnahmen einen Dialog in Bildern entwirft. Der ergreifende Monolog über das Exil lädt zum Nachdenken über die Kraft der Bilder ein.
Frankreich/Syrien 2014. R: Ossama Mohammed, Wiam Simav Bedirxan.
Dokumentarfilm. 92 Min., DCP OmeU englische Untertitel
Wir bitten um Ticketreservierung: http://deutsches-filminstitut.de/blog/lets-talk-about-syria/
Künstlergespräch: # Lets_talk_about_Syria
Elias Perabo, Ossama Mohammed, Khaled Barakeh u.a.
ca. 19:15 Uhr, Aula Städelschule
In conjunction with Film Museum and Städelschule, Khaled Barakeh will moderate a dialogue on the current situation in Syria.
Elias Perabo is a political scientist. He was traveling through Syria in April 2011 when the Syrian Spring erupted. He saw with his own eyes how the land changed from one day to the next, as the people lost their fear and began to go out on the street. At first he worked on the establishment of international media relations for Syrian activists, later he developed a broad network of contacts and co-founded Adopt a Revolution.
The Adopt a Revolution project was launched by Syrian and German activists in 2011 in the face of the brutal persecution of the peaceful uprising against the regime of Bashar al-Assad. The project has the following four objectives: Financial Support, Build a Bridge of Solidarity, Knowledge Transfer and Civil Intervention. Its an initiative that allows individuals and civil society groups outside of Syria to "adopt" a Syrian activist group of their choice and help it to survive and succeed in the uprising.
Born in Latakia in 1954, Ossama Mohammed graduated from the Russian State Institute of Cinematography (VGIK) in 1979. His first fiction feature 'Stars in Broad Daylight - 1988' was selected at the Cannes Film Festival, and earned the filmmaker great critical praise, including the Golden palm at the Valencia Festival. Complex and visually stunning, his second feature film 'Sacrifices - 2002' has confirmed its maker as one of the Soviet film school's graduates most individual and masterful filmmakers. Ossama Mohammed won lots of international film festivals' prizes around the world.
After 2011 in the forced exile in Paris, Ossama Mohammed began a new cinematic adventure, Silvered Water - Syria Self- Portrait' Shot by a reported '1,001 Syrians', the film impressionistically documents the destruction and atrocities of the civil war through a combination of eye-witness accounts shot on mobile phones and posted to the internet, and footage shot by Bedirxan during the siege of Homs. Bedirxan, an elementary school teacher in Homs, had contacted Mohammed online to ask him what he would film if he was there. Mohammed, working in forced exile in Paris, is tormented by feelings of cowardice as he witnesses the horrors from afar, and the self-reflexive film also chronicles how he is haunted in this dreams by a Syrian boy once shot to death for snatching his camera on the street.
Born in 1976 in Damascus Suburb, Khaled Barakeh graduated in 2005 from the Faculty of Fine Arts in Damascus, Syria, and completed his MFA at Funen Art Academy in 2010 in Odense, Denmark. He has exhibited at the Künstlerhaus Stuttgart; Golden Thread Gallery, Northern Ireland; Kunsthalle Brandts; Ovegarden, Denmark; Smack Mellon in New York City; and many other institutions. Barakeh finished his Meisterschüler with Simon Starling, at the Städelschule Academy of Fine Arts in Frankfurt am Main in 2013.
Syrian specialties will be served by Städelschules Kochwerkstatt.
Die Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Sarah Schulman
Vortrag
Sarah Schulman: Conflict Is Not Abuse: Overstating Harm, Community Responsibility and The Duty of Repair
Montag, 9. November 2015, 19 Uhr, Aula
Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter and AIDS historian. Her recent books include "The Gentrification of The Mind: Witness To A Lost Imagination", "Israel/Palestine and The Queer International" and "Ties That Bind: Familial Homophobia and Its Consequences." Her films have been seen at The Berlinale ("The Owls" and "Mommy Is Coming") and The Museum of Modern Art ("United In Anger: A History of ACT UP" and "Jason and Shirley"). She is on the Advisory Board of Jewish Voice for Peace, and is Distinguished Professor of the Humanities at the City University of New York, College of Staten Island where she is faculty advisor to students for Justice in Palestine.
Speaking from her new work (to be published in Fall 2016), Sarah Schulman engages the difference between Conflict and Abuse and how confusion between the two produces justification for injustice in both the intimate and geo-political realms.
Der Vortrag findet in englischer Sprache statt.
Sarah Schulman: Conflict Is Not Abuse: Overstating Harm, Community Responsibility and The Duty of Repair
Montag, 9. November 2015, 19 Uhr, Aula
Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter and AIDS historian. Her recent books include "The Gentrification of The Mind: Witness To A Lost Imagination", "Israel/Palestine and The Queer International" and "Ties That Bind: Familial Homophobia and Its Consequences." Her films have been seen at The Berlinale ("The Owls" and "Mommy Is Coming") and The Museum of Modern Art ("United In Anger: A History of ACT UP" and "Jason and Shirley"). She is on the Advisory Board of Jewish Voice for Peace, and is Distinguished Professor of the Humanities at the City University of New York, College of Staten Island where she is faculty advisor to students for Justice in Palestine.
Speaking from her new work (to be published in Fall 2016), Sarah Schulman engages the difference between Conflict and Abuse and how confusion between the two produces justification for injustice in both the intimate and geo-political realms.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 3. November 2015
Dana Whabira
Vortrag Curatorial Studies
Dana Whabira: Art, Publics & the Urban Imaginary
Dienstag, 17 November 2015, 19 Uhr, Aula
The talk focuses on the mediation of public space through curatorial practice and artistic intervention. In 2013 Dana Whabira founded the independent art space Njelele Art Station in Harare/Zimbabwe, a meeting place for critical dialogue where ideas are birthed and resonate out into the city through projects that provoke discussion and engage with the general public.
Dana Whabira (born in 1976 in London, grown up in Harare/Zimbabwe, where she lives and works) is a trained architect and studied art and design at Central Saint Martin’s College in London. Njelele Art Station recently participated in the Symposium D’Art Mali by Médina Mediatheque, part of the Rencontres de Bamako 2015 OFF program.
Dana Whabira is the current grant-holder of KfW Stiftung’s program 'Curators in Residence: Curating Connections’ in collaboration with the DAAD Artists-in-Berlin Program. The program provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, it facilitates encounters between those working in arts and culture. The residency program seeks to stimulate intercultural dialogue in curatorial practice.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 2. November 2015
Absolventinnen und Absolventen der Städelschule
Vorträge
Absolventinnen und Absolventen der Städelschule
Mittwoch, 4. November und 11. November 2015, 19 Uhr, Vortragssaal, MMK 1, Domstraße 10, Frankfurt
4. November
Julien Nguyen
Ana Vogelfang
Victoria Colmegna
Graziano Capitta
11. November
Jan Domicz
Marcello Spada
Thuy-Han Nguyen-Chi
Calori & Maillard
Im Rahmen der diesjährigen Absolventenausstellung der Städelschule “Parked Like Serious Oysters” im MMK finden erstmals zwei Vortragsabende statt, in denen die Künstlerinnen und Künstler einen vertieften Einblick in ihre künstlerische Praxis geben.
Eintritt frei.
Die Veranstaltung findet in englischer Sprache statt.
Absolventinnen und Absolventen der Städelschule
Mittwoch, 4. November und 11. November 2015, 19 Uhr, Vortragssaal, MMK 1, Domstraße 10, Frankfurt
4. November
Julien Nguyen
Ana Vogelfang
Victoria Colmegna
Graziano Capitta
11. November
Jan Domicz
Marcello Spada
Thuy-Han Nguyen-Chi
Calori & Maillard
Im Rahmen der diesjährigen Absolventenausstellung der Städelschule “Parked Like Serious Oysters” im MMK finden erstmals zwei Vortragsabende statt, in denen die Künstlerinnen und Künstler einen vertieften Einblick in ihre künstlerische Praxis geben.
Eintritt frei.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 27. Oktober 2015
The Feast: Prolegomenon - From Peelings to Core
Städelschule Architecture Class
The Feast: Prolegomenon - From Peelings to Core
Donnerstag, 29. Oktober 2015, ab 17:30 Uhr, Lichthalle
The Städelschule Architecture Class and its second year group, Architecture and Aesthetic Practice, in collaboration with AtelierSlice (Stockholm/New York) and Genießerakademie (Frankfurt) invites to The Feast. The Feast is a year-long experimental investigation into the relations between architecture, art and culinary practice, exploring opportunities for innovation in the making of tomorrow.
The Feast enquires into culinary art and its radical and sometimes innovative transformation of matter for choreographed and carefully sequenced experiences in order to transpose lessons from the experiments into new opportunities for architectural design.
To kick off the experimental programme, SAC and its collaborators invites to The Feast: Prolegomenon - From Peelings to Core, an evening with food and talk about food, architecture and art. Dorothy Hamilton, founder and CEO of the International Culinary Center (ICC), and Sayan Isaksson, founder of and chef at the Michelin-starred restaurant, Esperanto, in Stockholm, are main guests. They join AtelierSlice’s Jan Åman and Savinien Caracostea, Fabian Lange of the Genießerakademie, and Städelschule’s Daniel Birnbaum and Johan Bettum to discuss the history of food and cooking in architecture and the arts, the role of cooking and chefs in the 21st century and how the disciplines engage with innovation and innovations role in forming the future.
For the event, Sayan Isaksson will have prepared soup that will be served; Savinien Caracostea, who has a degree in Pastry Arts from the International Culinary Center in NYC, will serve pastry; and there will be tastes of wine chosen by Fabian Lange.
Programme: Discussion - Conversation
17:30 - 18 Uhr
Savinien Caracostea & Johan Bettum
Welcome: Architecture - System, City, Food
18 - 18:30 Uhr
Daniel Birnbaum
Städelschule Cooking: From Gordon Matta Clark and Peter Kubelka to Rirkrit Tiravanija and Jason Rhoades.
18:30 - 19 Uhr
Dorothy Hamilton
Beyond knife skills: the role of the professional cook in the 21st century.
19 - 19:30 Uhr
Fabian Lange
The Architecture of taste.
19:30 - 20 Uhr
Jan Åman
Food and the city: the world’s fair and tools for innovation.
20 - 20:30 Uhr
Conversation with Tobias Rehberger.
Die Veranstaltung findet in englischer Sprache statt.
Special Guests:
Dorothy Cann Hamilton is founder and CEO of the International Culinary Center (ICC). She is one of the most respected culinary leaders in the world today. She is the president of the USA pavilion at the 2015 World Expo in Milan and served as the former president of the James Beard Foundation, one of the most prestigious culinary foundations in the USA. Hamilton is an author and creator and host of Chef’s Story, a weekly radio program on the Heritage Radio Network and a 26-part television series on PBS.
Sayan Isaksson is the renown founder of and chef at the restaurant, Esperanto, in Stockholm. The restaurant has one Michelin star and was selected best restaurant in Sweden in both 2013 and -14.
Tobias Rehberger, professor for sculpture at Städelschule since 2001, produces work of great artistic complexity and intimacy with design. The production flirts with the contemporary status of objects, space, commodification and innovation. Yet, for all its extravagance, humor and disciplinary ambiguity, Rehberger's work reflects his own clear identification as an artist.
More about The Feast:
The one-year long experimental project, The Feast, engages with culinary art as the inventive planning and production for human nutrition, sustenance and pleasure. The aim of the project is to deliver a vast research and educational experience for architectural design and present the results in select public media and events.
Preparations for The Feast comprises in-depth research and architectural design experiments based on basic lessons as well as cutting edge strategies for innovation in the culinary arts. The Feast abstracts and explores architects’ creative work process and goal oriented planning by shifting the attention to the ephemeral production of a dinner party. By unfolding the traditional elements that constitute a holistic dining experience - food, service, atmosphere - and understanding their temporality, the research and experiments will seek to establish a new framework for creating sequenced composition, choreography and effects for architectural design.
In the second, summer semester 2016 the lessons and experimental results had from The Feast will be transposed to architecture and comprise the basis for the respective students’ conceptualisation, development and design of a culinary social centre for one of the many cultural institutions in Frankfurt am Main.
Architecture and Aesthetic Practice is led by professors Daniel Birnbaum and Johan Bettum. The Feast is undertaken in collaboration with Jan Åman and Savinien Caracostea of AtelierSlice (Stockholm/New York), Fabian Lange of the Genießerakademie (Frankfurt) and Städelschule’s cook, Hocine Bouhlou. Further specialists from the local and international kitchen and restaurant scene as well as Städelschule professor and artist, Tobias Rehberger, are invited.
The Feast: Prolegomenon - From Peelings to Core is generously supported by Städelschule Portikus e.V.
The Feast: Prolegomenon - From Peelings to Core
Donnerstag, 29. Oktober 2015, ab 17:30 Uhr, Lichthalle
The Städelschule Architecture Class and its second year group, Architecture and Aesthetic Practice, in collaboration with AtelierSlice (Stockholm/New York) and Genießerakademie (Frankfurt) invites to The Feast. The Feast is a year-long experimental investigation into the relations between architecture, art and culinary practice, exploring opportunities for innovation in the making of tomorrow.
The Feast enquires into culinary art and its radical and sometimes innovative transformation of matter for choreographed and carefully sequenced experiences in order to transpose lessons from the experiments into new opportunities for architectural design.
To kick off the experimental programme, SAC and its collaborators invites to The Feast: Prolegomenon - From Peelings to Core, an evening with food and talk about food, architecture and art. Dorothy Hamilton, founder and CEO of the International Culinary Center (ICC), and Sayan Isaksson, founder of and chef at the Michelin-starred restaurant, Esperanto, in Stockholm, are main guests. They join AtelierSlice’s Jan Åman and Savinien Caracostea, Fabian Lange of the Genießerakademie, and Städelschule’s Daniel Birnbaum and Johan Bettum to discuss the history of food and cooking in architecture and the arts, the role of cooking and chefs in the 21st century and how the disciplines engage with innovation and innovations role in forming the future.
For the event, Sayan Isaksson will have prepared soup that will be served; Savinien Caracostea, who has a degree in Pastry Arts from the International Culinary Center in NYC, will serve pastry; and there will be tastes of wine chosen by Fabian Lange.
Programme: Discussion - Conversation
17:30 - 18 Uhr
Savinien Caracostea & Johan Bettum
Welcome: Architecture - System, City, Food
18 - 18:30 Uhr
Daniel Birnbaum
Städelschule Cooking: From Gordon Matta Clark and Peter Kubelka to Rirkrit Tiravanija and Jason Rhoades.
18:30 - 19 Uhr
Dorothy Hamilton
Beyond knife skills: the role of the professional cook in the 21st century.
19 - 19:30 Uhr
Fabian Lange
The Architecture of taste.
19:30 - 20 Uhr
Jan Åman
Food and the city: the world’s fair and tools for innovation.
20 - 20:30 Uhr
Conversation with Tobias Rehberger.
Die Veranstaltung findet in englischer Sprache statt.
Special Guests:
Dorothy Cann Hamilton is founder and CEO of the International Culinary Center (ICC). She is one of the most respected culinary leaders in the world today. She is the president of the USA pavilion at the 2015 World Expo in Milan and served as the former president of the James Beard Foundation, one of the most prestigious culinary foundations in the USA. Hamilton is an author and creator and host of Chef’s Story, a weekly radio program on the Heritage Radio Network and a 26-part television series on PBS.
Sayan Isaksson is the renown founder of and chef at the restaurant, Esperanto, in Stockholm. The restaurant has one Michelin star and was selected best restaurant in Sweden in both 2013 and -14.
Tobias Rehberger, professor for sculpture at Städelschule since 2001, produces work of great artistic complexity and intimacy with design. The production flirts with the contemporary status of objects, space, commodification and innovation. Yet, for all its extravagance, humor and disciplinary ambiguity, Rehberger's work reflects his own clear identification as an artist.
More about The Feast:
The one-year long experimental project, The Feast, engages with culinary art as the inventive planning and production for human nutrition, sustenance and pleasure. The aim of the project is to deliver a vast research and educational experience for architectural design and present the results in select public media and events.
Preparations for The Feast comprises in-depth research and architectural design experiments based on basic lessons as well as cutting edge strategies for innovation in the culinary arts. The Feast abstracts and explores architects’ creative work process and goal oriented planning by shifting the attention to the ephemeral production of a dinner party. By unfolding the traditional elements that constitute a holistic dining experience - food, service, atmosphere - and understanding their temporality, the research and experiments will seek to establish a new framework for creating sequenced composition, choreography and effects for architectural design.
In the second, summer semester 2016 the lessons and experimental results had from The Feast will be transposed to architecture and comprise the basis for the respective students’ conceptualisation, development and design of a culinary social centre for one of the many cultural institutions in Frankfurt am Main.
Architecture and Aesthetic Practice is led by professors Daniel Birnbaum and Johan Bettum. The Feast is undertaken in collaboration with Jan Åman and Savinien Caracostea of AtelierSlice (Stockholm/New York), Fabian Lange of the Genießerakademie (Frankfurt) and Städelschule’s cook, Hocine Bouhlou. Further specialists from the local and international kitchen and restaurant scene as well as Städelschule professor and artist, Tobias Rehberger, are invited.
The Feast: Prolegomenon - From Peelings to Core is generously supported by Städelschule Portikus e.V.
Montag, 19. Oktober 2015
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Vortrag
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Mittwoch, 21. Oktober 2015, 19 Uhr, Aula
Wolfgang Müller * 1957 in Wolfsburg. Er zieht 1979 nach West-Berlin. Dort gründet er „Die Tödliche Doris“. Angeregt von Marcel Duchamp fragt er: „Kann man etwas machen, das keine Musik ist?“ Es entstehen zahlreiche unmusikalische, außermusikalische und übermusikalische Werke. Sein Manifest des musikalisch-künstlerischen West-Berliner Undergrounds „Geniale Dilletanten“ erscheint 1981 im Merve-Verlag. Ab 1990 dehnt er seine „Missverständniswissenschaft“ (Marcel Beyer) auf Island aus. Als Professor der HfBK Hamburg unterrichtet er 2001-2002 Elfen-, Zwergen- und Geschlechterkunde. Den Karl-Sczuka-Preis erhält er 2009 in Donaueschingen für sein Werk „Séance Vocibus Avium“, ein Hörspiel mit den rekonstruierten Gesängen ausgestorbener Vogelarten. Sein 2013 bei philo Fine Arts erschienenes Buch „Subkultur Westberlin 1979 – 1989.Freizeit“ ist inzwischen in 4. Auflage erschienen. Zur Zeit recherchiert er über den Tanz „Pause“ (1919) von Valeska Gert.
Müller spricht in seinem Vortrag über Beispiele von Materialisierungen des Konzeptes der Tödlichen Doris: Von der schwarzen Vinyl-LP zur unsichtbaren LP. Für jeden Song einen Modeentwurf. Das Gegenstück zu Michel Jacksons BAD (1987), die 1988 erscheinende BAT von Wolfgang Müller mit den Ultraschallecholauten einheimischer Fledermausarten, Experimentelle Plastik, Elfen und Zwergenkunde in der Walther von Goethe Foundation Reykjavík. Séance Vocibus Avium - die rekonstruierten Rufe ausgestorbener Vogelarten - vom Riesenalk zur Neuseeländischen Schwarzbrustwachtel. Die Elfengebärde. Neues von der Missverständniswissenschaft. Valeska Gert und ihr Tanz "Pause".
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Mittwoch, 21. Oktober 2015, 19 Uhr, Aula
Wolfgang Müller * 1957 in Wolfsburg. Er zieht 1979 nach West-Berlin. Dort gründet er „Die Tödliche Doris“. Angeregt von Marcel Duchamp fragt er: „Kann man etwas machen, das keine Musik ist?“ Es entstehen zahlreiche unmusikalische, außermusikalische und übermusikalische Werke. Sein Manifest des musikalisch-künstlerischen West-Berliner Undergrounds „Geniale Dilletanten“ erscheint 1981 im Merve-Verlag. Ab 1990 dehnt er seine „Missverständniswissenschaft“ (Marcel Beyer) auf Island aus. Als Professor der HfBK Hamburg unterrichtet er 2001-2002 Elfen-, Zwergen- und Geschlechterkunde. Den Karl-Sczuka-Preis erhält er 2009 in Donaueschingen für sein Werk „Séance Vocibus Avium“, ein Hörspiel mit den rekonstruierten Gesängen ausgestorbener Vogelarten. Sein 2013 bei philo Fine Arts erschienenes Buch „Subkultur Westberlin 1979 – 1989.Freizeit“ ist inzwischen in 4. Auflage erschienen. Zur Zeit recherchiert er über den Tanz „Pause“ (1919) von Valeska Gert.
Müller spricht in seinem Vortrag über Beispiele von Materialisierungen des Konzeptes der Tödlichen Doris: Von der schwarzen Vinyl-LP zur unsichtbaren LP. Für jeden Song einen Modeentwurf. Das Gegenstück zu Michel Jacksons BAD (1987), die 1988 erscheinende BAT von Wolfgang Müller mit den Ultraschallecholauten einheimischer Fledermausarten, Experimentelle Plastik, Elfen und Zwergenkunde in der Walther von Goethe Foundation Reykjavík. Séance Vocibus Avium - die rekonstruierten Rufe ausgestorbener Vogelarten - vom Riesenalk zur Neuseeländischen Schwarzbrustwachtel. Die Elfengebärde. Neues von der Missverständniswissenschaft. Valeska Gert und ihr Tanz "Pause".
Dienstag, 13. Oktober 2015
FookBair 2015
Veranstaltung zur Buchmesse
FookBair 2015 @ Städelschule
Samstag, 17. Oktober 2015, ab 10 Uhr, Dürerstrasse 10
http://fookbair.tumblr.com/
Print is not dead, it just looks canny. So what?
Join us for the inaugural fookbair at Frankfurt's matchless Städelschule this Sat Oct 17th. Twelve+ hours to celebrate the resurrection of the book and its analog orphans. Fakers, fellows, fetishists, folks +++ Think Bāzār. Think Ballroom.
Starting off at 10am with Easter trouble press, re/search, Leesmagazijn, Fucking good art, Ztscrpt, Spector books, Dancing foxes, Textem, Archive books, Monokultur, Zero sharp and many others.
Plus: Live Lectures, Films, Music by Traumawien, Sic Sic Tapes / Mmodemm, Ricochet, Scriptings Achim Lengerer, Alexander Tillegreen, Merve, Spector books, Leesmagazijn, Bernhard Cella
Plusplus: 10pm: "One reynaldo’s revenge" on the Most Excellent and Lamentable Conceited Tragedie, of iuliet and her romeo, and one Mercutio his friend, and the Friar who advised true lovers to False Death, made true, etc., as it will be publickly acted by the DysHonorable pure fiction seminar and its purple vein’d faire assembly, under the deu’l’d Aegis of the STAEDEL and FookBair – a Mishapen Chaos of welseeing formes, soales of leade, bright smoake, cold fire, sicke health – fiddlestickes prepar’d in Chopt Logicke. What is it else? A madnesse, most Discreet, a choking gall, a marue’lous treat – Farewell my Coze. with vntimely appearances by Laura Marx and Paul Lafarge. 30 minvtes of borrow’d likenesse & kindred Deathe. Shut vp yr windowes, locke faire daylight out, and make yrselfe an artificiall night: Doest thou not weep?
Drinks & Drunks & Music till dawn
Die Veranstaltung FookBair ist eine Initiative des Merve Verlags.
FookBair 2015 @ Städelschule
Samstag, 17. Oktober 2015, ab 10 Uhr, Dürerstrasse 10
http://fookbair.tumblr.com/
Print is not dead, it just looks canny. So what?
Join us for the inaugural fookbair at Frankfurt's matchless Städelschule this Sat Oct 17th. Twelve+ hours to celebrate the resurrection of the book and its analog orphans. Fakers, fellows, fetishists, folks +++ Think Bāzār. Think Ballroom.
Starting off at 10am with Easter trouble press, re/search, Leesmagazijn, Fucking good art, Ztscrpt, Spector books, Dancing foxes, Textem, Archive books, Monokultur, Zero sharp and many others.
Plus: Live Lectures, Films, Music by Traumawien, Sic Sic Tapes / Mmodemm, Ricochet, Scriptings Achim Lengerer, Alexander Tillegreen, Merve, Spector books, Leesmagazijn, Bernhard Cella
Plusplus: 10pm: "One reynaldo’s revenge" on the Most Excellent and Lamentable Conceited Tragedie, of iuliet and her romeo, and one Mercutio his friend, and the Friar who advised true lovers to False Death, made true, etc., as it will be publickly acted by the DysHonorable pure fiction seminar and its purple vein’d faire assembly, under the deu’l’d Aegis of the STAEDEL and FookBair – a Mishapen Chaos of welseeing formes, soales of leade, bright smoake, cold fire, sicke health – fiddlestickes prepar’d in Chopt Logicke. What is it else? A madnesse, most Discreet, a choking gall, a marue’lous treat – Farewell my Coze. with vntimely appearances by Laura Marx and Paul Lafarge. 30 minvtes of borrow’d likenesse & kindred Deathe. Shut vp yr windowes, locke faire daylight out, and make yrselfe an artificiall night: Doest thou not weep?
Drinks & Drunks & Music till dawn
Die Veranstaltung FookBair ist eine Initiative des Merve Verlags.
Bifo: NEXT Europe
Vortrag
Bifo: NEXT Europe
Donnerstag, 15. Oktober 2015, 19 Uhr, Aula
Recently the Union has been shaken by two major crises: the first was linked to the financial problems of Southern countries of the continent particularly of Greece, the second was linked to the wave of migration at the Southern and Eastern borders. The reaction of the leading class, and particularly of the German State has been ambivalent. Generally speaking the Ordo-Liberal order imposed to the economy of the Union has provoked an impoverishment of social life, and the growing discontent of people is more and more exploited by nationalist forces. A division is emerging in the continent, and the fear of migrants has made this division quite evident.
What will be the issue of the multifaceted crisis? Why intellectuals seem unable to speak out and to propose a project for the future? What is going to happen next in the European space? Will we be able to find a way out from the alternative between aggressive financial capitalism and the resurgence of nationalism?
Franco Berardi is writer, philosopher and media-activist. In the '70s he took part to the Italian experience of Potere operaio, and founded the first radio station called Radio Alice. In the '80s he studied in Paris, in New York and in Mexico City, then was the animator of the international cyberculture of the '90s.
Recently he has published The soul at work (Semiotexte) The Uprising translated in German by Matthes un Destz. His next book will be published by Semiotexte with title And Phenomenology of the End.
Der Vortrag findet in englischer Sprache statt.
Bifo: NEXT Europe
Donnerstag, 15. Oktober 2015, 19 Uhr, Aula
Recently the Union has been shaken by two major crises: the first was linked to the financial problems of Southern countries of the continent particularly of Greece, the second was linked to the wave of migration at the Southern and Eastern borders. The reaction of the leading class, and particularly of the German State has been ambivalent. Generally speaking the Ordo-Liberal order imposed to the economy of the Union has provoked an impoverishment of social life, and the growing discontent of people is more and more exploited by nationalist forces. A division is emerging in the continent, and the fear of migrants has made this division quite evident.
What will be the issue of the multifaceted crisis? Why intellectuals seem unable to speak out and to propose a project for the future? What is going to happen next in the European space? Will we be able to find a way out from the alternative between aggressive financial capitalism and the resurgence of nationalism?
Franco Berardi is writer, philosopher and media-activist. In the '70s he took part to the Italian experience of Potere operaio, and founded the first radio station called Radio Alice. In the '80s he studied in Paris, in New York and in Mexico City, then was the animator of the international cyberculture of the '90s.
Recently he has published The soul at work (Semiotexte) The Uprising translated in German by Matthes un Destz. His next book will be published by Semiotexte with title And Phenomenology of the End.
Der Vortrag findet in englischer Sprache statt.
Oliver Laric: 2 recent works
Vortrag
Oliver Laric: 2 recent works
Mittwoch, 14. Oktober 2015, 19 Uhr, Aula
Oliver Laric’s work deals with Age regression, age progression, TF and Kisekae. It seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.
Laric (born 1981 in Innsbruck, Austria) lives and works in Berlin. He studied at the Universität für angewandte Kunst Wien and is a co-founder of the VVORK platform (www.vvork.com). In his talk at Städelschule he will present two recent works.
Der Vortrag findet in englischer Sprache statt.
Oliver Laric: 2 recent works
Mittwoch, 14. Oktober 2015, 19 Uhr, Aula
Oliver Laric’s work deals with Age regression, age progression, TF and Kisekae. It seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.
Laric (born 1981 in Innsbruck, Austria) lives and works in Berlin. He studied at the Universität für angewandte Kunst Wien and is a co-founder of the VVORK platform (www.vvork.com). In his talk at Städelschule he will present two recent works.
Der Vortrag findet in englischer Sprache statt.
Montag, 13. Juli 2015
Otobong Nkanga
Vortrag
Otobong Nkanga
Dienstag, 14. Juli 2015, 19 Uhr, Aula
Otobong Nkanga in conversation with Clare Molloy will be a haptic introduction to Nkanga's practice. The talk will address the process behind Nkanga's forthcoming exhibition at Portikus: her long-standing examination of “bling”, a field-trip through Namibia and the intensive workshops that she has led at the Städelschule, where she is currently a guest professor.
Crumbling Through Powdery Air follows on from In Pursuit of Bling, a work realised for the 8th Berlin Biennale, and examines the complex relationships that the desire for shining substances creates. Nkanga and Molloy are also working on a second exhibition at the Kadist Art Foundation in Paris, which deals with the extensive photographic and film material that Nkanga created in Namibia.
Otobong Nkanga is a visual artist based in Antwerp, Belgium. From 2013-2014 Nkanga was an Artist in Residence of the DAAD. Recent exhibitions include: Tracing Confessions, Museum Folkwang, Essen, DE (2015), Taste of a Stone, Stedelijk Museum, Schiedam, NL (2015); Diaspore, 14 Rooms, Basel, CH (2014); Sharjah Biennial 11, Sharjah, UAE, (2013); Across the Board: Politics of Representation, Tate Modern, The Tanks, London, UK (2012).
Clare Molloy is the Kadist Curatorial Fellow of 2015, supported by the Kadist Art Foundation (Paris/San Francisco). She studied Curatorial Studies (a master’s programme at the Staatliche Hochschule für Bildende Künste – Städelschule and Goethe University Frankfurt).
Der Vortrag findet in englischer Sprache statt.
Otobong Nkanga
Dienstag, 14. Juli 2015, 19 Uhr, Aula
Otobong Nkanga in conversation with Clare Molloy will be a haptic introduction to Nkanga's practice. The talk will address the process behind Nkanga's forthcoming exhibition at Portikus: her long-standing examination of “bling”, a field-trip through Namibia and the intensive workshops that she has led at the Städelschule, where she is currently a guest professor.
Crumbling Through Powdery Air follows on from In Pursuit of Bling, a work realised for the 8th Berlin Biennale, and examines the complex relationships that the desire for shining substances creates. Nkanga and Molloy are also working on a second exhibition at the Kadist Art Foundation in Paris, which deals with the extensive photographic and film material that Nkanga created in Namibia.
Otobong Nkanga is a visual artist based in Antwerp, Belgium. From 2013-2014 Nkanga was an Artist in Residence of the DAAD. Recent exhibitions include: Tracing Confessions, Museum Folkwang, Essen, DE (2015), Taste of a Stone, Stedelijk Museum, Schiedam, NL (2015); Diaspore, 14 Rooms, Basel, CH (2014); Sharjah Biennial 11, Sharjah, UAE, (2013); Across the Board: Politics of Representation, Tate Modern, The Tanks, London, UK (2012).
Clare Molloy is the Kadist Curatorial Fellow of 2015, supported by the Kadist Art Foundation (Paris/San Francisco). She studied Curatorial Studies (a master’s programme at the Staatliche Hochschule für Bildende Künste – Städelschule and Goethe University Frankfurt).
Der Vortrag findet in englischer Sprache statt.
Freitag, 26. Juni 2015
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Vortrag
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Mittwoch, 1. Juli 2015, 19 Uhr, Aula
Born 1954 in Milan, Alessandro Nova studied “Lettere e Filosofia” at the Università degli Studi di Milano and Art History at the Courtauld Institute of Art in London. In 1982, he earned his PhD at the Courtauld Institute of Art in London. His research was financed in 1986-1987 by the J. Paul Getty Postdoctoral Fellowship, and in 1992-94 by the Institute for Advanced Study in Princeton. From 1988 to 1994 he was an Assistant Professor at Stanford University (California, USA). In the summer semester he held the position of a C4-Professor at the Humboldt University in Berlin. In 1994, he was appointed professor of Art History of the Renaissance at the Goethe-Universität in Frankfurt am Main. In the Wintersemester of 2001-2002 he was a Guest Lecturer at the École des Hautes Études en Sciences Sociales – CEHTA (Centre d’histoire et théorie des arts) in Paris. From 2006 to 2007 he served as the managing director of the research center on the Early Modern Period at Frankfurt University (Zentrum zur Erforschung der Frühen Neuzeit, Renaissance Institut). In July 2006, he was appointed Honorary Professor of the Goethe-Universität in Frankfurt am Main. In 2010 he was a visiting Researcher at the Humboldt-University of Berlin in the research project “Bildakt und Verkörperung”. Since October 2006, Alessandro Nova has served as Director of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut.
Der Vortrag findet in englischer Sprache statt.
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Mittwoch, 1. Juli 2015, 19 Uhr, Aula
Born 1954 in Milan, Alessandro Nova studied “Lettere e Filosofia” at the Università degli Studi di Milano and Art History at the Courtauld Institute of Art in London. In 1982, he earned his PhD at the Courtauld Institute of Art in London. His research was financed in 1986-1987 by the J. Paul Getty Postdoctoral Fellowship, and in 1992-94 by the Institute for Advanced Study in Princeton. From 1988 to 1994 he was an Assistant Professor at Stanford University (California, USA). In the summer semester he held the position of a C4-Professor at the Humboldt University in Berlin. In 1994, he was appointed professor of Art History of the Renaissance at the Goethe-Universität in Frankfurt am Main. In the Wintersemester of 2001-2002 he was a Guest Lecturer at the École des Hautes Études en Sciences Sociales – CEHTA (Centre d’histoire et théorie des arts) in Paris. From 2006 to 2007 he served as the managing director of the research center on the Early Modern Period at Frankfurt University (Zentrum zur Erforschung der Frühen Neuzeit, Renaissance Institut). In July 2006, he was appointed Honorary Professor of the Goethe-Universität in Frankfurt am Main. In 2010 he was a visiting Researcher at the Humboldt-University of Berlin in the research project “Bildakt und Verkörperung”. Since October 2006, Alessandro Nova has served as Director of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 24. Juni 2015
Peter Kubelka: Essbare und nichtessbare Mitteilungen.
Vortrag
Peter Kubelka: Essbare und nichtessbare Mitteilungen
Dienstag, 30. Juni 2015, 19 Uhr, Lichthalle
Peter Kubelka ist Künstler und Theoretiker. Von 1978 bis 2000 unterrichtete er an der Städelschule. 1980 änderte er mit Zustimmung des Rektors, des Rates und der Studierenden den Namen und die Ausrichtung seiner Filmklasse. Mit "Film und Kochen als Kunstgattung" wurde die Städelschule weltweit die erste Kunsthochschule, die die Disziplin "Kochen" als gleichwertig mit Malerei, Bildhauerei, Graphik und Film anerkannte und in das offizielle Curriculum aufnahm.
In der Halle der Städelschule möchte Peter Kubelka mit einem Vortrag, der auch essbare Beispiele bringt, die Bedeutung der Speisenbereitung als Ursprung aller mitteilenden Medien würdigen. Die Speisen werden von der Städelschule Filmküche unter der Leitung von Felix Bröcker zubereitet.
Seit den 1950er Jahren ist Peter Kubelka eine herausragende Figur der internationalen Filmavantgarde. Seine metrischen Filme waren Vorläufer der internationalen Bewegung des strukturellen Fims. Seine metaphorischen Filme definieren eine ausschliesslich filminherente Sprache, die zwischen den Grundelementen Ton und Bild artikuliert. Kubelka ist auch bekannt als nichtschreibender Theoretiker, der in seine Vorträge nichtverbale Elemente wie Mimik, Musik, Speisen, darstellende Objekte und Werkzeuge integriert.
Kubelka wurde im Jahr 1934 in Wien geboren. Seine Jugend verbrachte er auf dem Land in Taufkirchen (Oberösterreich). 1944-47 Wiener Sängerknaben. 1947-52 Gymnasium Linz und Wels. Beginn des Studiums aller romanischen Sprachen. Intensive Beschäftigung mit Literatur. Beginn der Loslösung aus religiöser Prägung. Ab 1949 Leichtathletik als Leistungssport. 1952-1967 Judo. 1953 Österreichischer Juniorenmeister im Diskuswerfen. 1956 Film: Mosaik im Vertrauen zur Biennale Venedig eingeladen, aber nicht von Österreich nominiert; läuft für Vietnam. 1958 Sommerakademie Alpbach, erste wirkliche Filmausstellung: "Adebar" auf einer Almwiese als dreidimensionale Skulptur auf Heuschoberpfosten aufgehängt. 1958 Weltausstellung Brüssel, begegnet amerikanischen Filmmacher (Brakhage, Breer, Anger). 1961 Unsere Afrikareise. 1962 Zerstörung aller Filmpartituren. 1964 Gründung des Österreichischen Filmmuseums. 1966 erste Amerikareise. Bis 1978 Aufenthalt hauptsächlich in den USA. Lectures an über 50 Universitäten. 1967 im Vorstand der Film Makers’ Coop, NY. Beginn der Entspezialisierung (autodidaktisches Neustudium aller Disziplinen und Kunstgattungen). 1967-1968: Arbeit an der Film Library der UNO. 1968 „Cooking Concert“ in NY. 1970 Mitbegründer der Anthology Film Archives; Design und Realisierung des ersten Invisible Cinemas. 1973 Restaurierung von Dziga Vertovs Entuziazm. 1980 Gründung von Spatium Musicum. 1976 Erstellung der Avantgardefilmsammlung für das Centre Pompidou. 1978 Professur an der der Städelschule, Frankfurt. Erstmalige Einführung der Speisenbereitung in das Curriculum einer Hochschule. Klasse für Film und Kochen als Kunstgattung.1989 Unsichtbares Kino in Wien. 1996 Zyklisches Programm: Was ist Film? 64 rotierende Programme für das Unsichtbares Kino im Filmmuseum: Das Wesen des Films in Beispielen. 2012 ANTIPHON, ein Gegenstück zu "Arnulf Rainer" und teil des Werkes MONUMENT FILM. (Peter Tscherkassky)
Kubelkas Filme:
MOSAIK IM VERTRAUEN, 1955
ADEBAR, 1957
SCHWECHATER, 1958
ARNULF RAINER, 1960
UNSERE AFRIKAREISE, 1966
PAUSE!, 1977
DICHTUNG UND WAHRHEIT, 2002
ANTIPHON, 2012
MONUMENT FILM, 2012
Die Veranstaltung wird mit freundlicher Unterstützung des Städelschule Portikus e.V. ermöglicht.
Der Vortrag findet in deutscher Sprache statt.
Peter Kubelka: Essbare und nichtessbare Mitteilungen
Dienstag, 30. Juni 2015, 19 Uhr, Lichthalle
Peter Kubelka ist Künstler und Theoretiker. Von 1978 bis 2000 unterrichtete er an der Städelschule. 1980 änderte er mit Zustimmung des Rektors, des Rates und der Studierenden den Namen und die Ausrichtung seiner Filmklasse. Mit "Film und Kochen als Kunstgattung" wurde die Städelschule weltweit die erste Kunsthochschule, die die Disziplin "Kochen" als gleichwertig mit Malerei, Bildhauerei, Graphik und Film anerkannte und in das offizielle Curriculum aufnahm.
In der Halle der Städelschule möchte Peter Kubelka mit einem Vortrag, der auch essbare Beispiele bringt, die Bedeutung der Speisenbereitung als Ursprung aller mitteilenden Medien würdigen. Die Speisen werden von der Städelschule Filmküche unter der Leitung von Felix Bröcker zubereitet.
Seit den 1950er Jahren ist Peter Kubelka eine herausragende Figur der internationalen Filmavantgarde. Seine metrischen Filme waren Vorläufer der internationalen Bewegung des strukturellen Fims. Seine metaphorischen Filme definieren eine ausschliesslich filminherente Sprache, die zwischen den Grundelementen Ton und Bild artikuliert. Kubelka ist auch bekannt als nichtschreibender Theoretiker, der in seine Vorträge nichtverbale Elemente wie Mimik, Musik, Speisen, darstellende Objekte und Werkzeuge integriert.
Kubelka wurde im Jahr 1934 in Wien geboren. Seine Jugend verbrachte er auf dem Land in Taufkirchen (Oberösterreich). 1944-47 Wiener Sängerknaben. 1947-52 Gymnasium Linz und Wels. Beginn des Studiums aller romanischen Sprachen. Intensive Beschäftigung mit Literatur. Beginn der Loslösung aus religiöser Prägung. Ab 1949 Leichtathletik als Leistungssport. 1952-1967 Judo. 1953 Österreichischer Juniorenmeister im Diskuswerfen. 1956 Film: Mosaik im Vertrauen zur Biennale Venedig eingeladen, aber nicht von Österreich nominiert; läuft für Vietnam. 1958 Sommerakademie Alpbach, erste wirkliche Filmausstellung: "Adebar" auf einer Almwiese als dreidimensionale Skulptur auf Heuschoberpfosten aufgehängt. 1958 Weltausstellung Brüssel, begegnet amerikanischen Filmmacher (Brakhage, Breer, Anger). 1961 Unsere Afrikareise. 1962 Zerstörung aller Filmpartituren. 1964 Gründung des Österreichischen Filmmuseums. 1966 erste Amerikareise. Bis 1978 Aufenthalt hauptsächlich in den USA. Lectures an über 50 Universitäten. 1967 im Vorstand der Film Makers’ Coop, NY. Beginn der Entspezialisierung (autodidaktisches Neustudium aller Disziplinen und Kunstgattungen). 1967-1968: Arbeit an der Film Library der UNO. 1968 „Cooking Concert“ in NY. 1970 Mitbegründer der Anthology Film Archives; Design und Realisierung des ersten Invisible Cinemas. 1973 Restaurierung von Dziga Vertovs Entuziazm. 1980 Gründung von Spatium Musicum. 1976 Erstellung der Avantgardefilmsammlung für das Centre Pompidou. 1978 Professur an der der Städelschule, Frankfurt. Erstmalige Einführung der Speisenbereitung in das Curriculum einer Hochschule. Klasse für Film und Kochen als Kunstgattung.1989 Unsichtbares Kino in Wien. 1996 Zyklisches Programm: Was ist Film? 64 rotierende Programme für das Unsichtbares Kino im Filmmuseum: Das Wesen des Films in Beispielen. 2012 ANTIPHON, ein Gegenstück zu "Arnulf Rainer" und teil des Werkes MONUMENT FILM. (Peter Tscherkassky)
Kubelkas Filme:
MOSAIK IM VERTRAUEN, 1955
ADEBAR, 1957
SCHWECHATER, 1958
ARNULF RAINER, 1960
UNSERE AFRIKAREISE, 1966
PAUSE!, 1977
DICHTUNG UND WAHRHEIT, 2002
ANTIPHON, 2012
MONUMENT FILM, 2012
Die Veranstaltung wird mit freundlicher Unterstützung des Städelschule Portikus e.V. ermöglicht.
Der Vortrag findet in deutscher Sprache statt.
Benedetta Tagliabue
Vortrag Architecture Class
Dean’s Honorary Lecture: Benedetta Tagliabue
Montag, 29. Juni 2015, 19 Uhr Uhr, Deutsches Architekturmuseum
Benedetta Tagliabue is a world-renown architect and the director of the architectural practice Miralles Tagliabue EMBT with offices in Barcelona and Shanghai. Her husband, Enric Miralles, led the Städelschule Architecture Class from 1990 until his death in 2000.
Tagliabue founded the architectural firm Miralles Tagliabue EMBT in 1994 in collaboration with Enric Miralles. Among EMBT’s most notable projects are the Edinburgh Parliament, Diagonal Mar Park, the Santa Caterina market in Barcelona, Campus Universitario de Vigo, and the Spanish Pavilion at the 2010 Shanghai World Expo, which was awarded the prestigious prize, "Best International Building of 2011”, by RIBA.
Tagliabue has been a visiting professor at Harvard University, Columbia University and Barcelona ETSAB and lectures regularly at architecture forums and universities. In addition to frequent jury appointments, she recently joined the jury for the Pritzker Prize. In 2004 she received an honorary doctorate from the Faculty of Arts and Social Sciences, Edinburgh Napier University, Scotland. Her work received the RIBA Stirling Prize in 2005, the National Spanish Prize in 2006, the Catalan National Prize in 2002, City of Barcelona Prize in 2005 and 2009 as well as FAD prizes in 2000, 2003 and 2007. In 2013, Tagliabue received the 2013 RIBA Jencks Award, which is given annually to an individual or practice that has recently made a major contribution internationally to both the theory and practice of architecture.
In her lecture, Tagliabue will present the urban planning and regeneration processes currently being developed in her studio, such as for the metro station in Naples, The Grand Paris Metro Station in Clichy-Montfermeil and Public Spaces in Hafencity Hamburg. She will also address the work recently completed for the Expo Milano 2015.
Der Vortrag findet in englischer Sprache statt.
Dean’s Honorary Lecture: Benedetta Tagliabue
Montag, 29. Juni 2015, 19 Uhr Uhr, Deutsches Architekturmuseum
Benedetta Tagliabue is a world-renown architect and the director of the architectural practice Miralles Tagliabue EMBT with offices in Barcelona and Shanghai. Her husband, Enric Miralles, led the Städelschule Architecture Class from 1990 until his death in 2000.
Tagliabue founded the architectural firm Miralles Tagliabue EMBT in 1994 in collaboration with Enric Miralles. Among EMBT’s most notable projects are the Edinburgh Parliament, Diagonal Mar Park, the Santa Caterina market in Barcelona, Campus Universitario de Vigo, and the Spanish Pavilion at the 2010 Shanghai World Expo, which was awarded the prestigious prize, "Best International Building of 2011”, by RIBA.
Tagliabue has been a visiting professor at Harvard University, Columbia University and Barcelona ETSAB and lectures regularly at architecture forums and universities. In addition to frequent jury appointments, she recently joined the jury for the Pritzker Prize. In 2004 she received an honorary doctorate from the Faculty of Arts and Social Sciences, Edinburgh Napier University, Scotland. Her work received the RIBA Stirling Prize in 2005, the National Spanish Prize in 2006, the Catalan National Prize in 2002, City of Barcelona Prize in 2005 and 2009 as well as FAD prizes in 2000, 2003 and 2007. In 2013, Tagliabue received the 2013 RIBA Jencks Award, which is given annually to an individual or practice that has recently made a major contribution internationally to both the theory and practice of architecture.
In her lecture, Tagliabue will present the urban planning and regeneration processes currently being developed in her studio, such as for the metro station in Naples, The Grand Paris Metro Station in Clichy-Montfermeil and Public Spaces in Hafencity Hamburg. She will also address the work recently completed for the Expo Milano 2015.
Der Vortrag findet in englischer Sprache statt.
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Vortrag Architecture Class
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Donnerstag, 25. Juni 2015, 19 Uhr, Aula
The work of Clemens Weisshaar and Reed Kram is situated on the vanishing line between the physical and digital world. In their projects an increasing degree of the integration of hard- and software systems is evident - throughout design, fabrication and operation. In his lecture, Clemens Weisshaar will speak about the Genesis and Exodus of these projects and give insights into the processes at Kram/Weisshaar.
Reed Kram and Clemens Weisshaar are rising stars in the field of design. They have been referred to as ‘the vanguard of the next generation of digital designers’ (Form Magazine) and ‘the poster boys of a new breed of designers’ (International Herald Tribune). Their office engages in the design of spaces, products and media. Key projects include the technology for Prada's Epicenter stores (2001-2004), the seminal Breeding Tables (2003), Hypersky (2006), Outrace (2010) and Robochop (2015).
Clemens Weisshaar was born in 1977 in Munich and did an apprenticeship as a metal worker before he studied product design at Central Saint Martins College of Art and Design and the Royal College of Art in London. He worked as an assistant to Konstantin Grcic for three years before founding his first office for design in 2000.
Der Vortrag findet in englischer Sprache statt.
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Donnerstag, 25. Juni 2015, 19 Uhr, Aula
The work of Clemens Weisshaar and Reed Kram is situated on the vanishing line between the physical and digital world. In their projects an increasing degree of the integration of hard- and software systems is evident - throughout design, fabrication and operation. In his lecture, Clemens Weisshaar will speak about the Genesis and Exodus of these projects and give insights into the processes at Kram/Weisshaar.
Reed Kram and Clemens Weisshaar are rising stars in the field of design. They have been referred to as ‘the vanguard of the next generation of digital designers’ (Form Magazine) and ‘the poster boys of a new breed of designers’ (International Herald Tribune). Their office engages in the design of spaces, products and media. Key projects include the technology for Prada's Epicenter stores (2001-2004), the seminal Breeding Tables (2003), Hypersky (2006), Outrace (2010) and Robochop (2015).
Clemens Weisshaar was born in 1977 in Munich and did an apprenticeship as a metal worker before he studied product design at Central Saint Martins College of Art and Design and the Royal College of Art in London. He worked as an assistant to Konstantin Grcic for three years before founding his first office for design in 2000.
Der Vortrag findet in englischer Sprache statt.
Montag, 22. Juni 2015
Dan Rees: Civic Pride
Vortrag
Dan Rees: Civic Pride
Montag, 22. Juni 2015, 19 Uhr, Aula
Dan Rees will speak about his painting practice, specifically his Artex series which mimic once fashionable decorative ceiling patterns, popular in 1970's Britain. He will introduce his ongoing project concerning the ‘Welsh Nicaraguan Solidarity Campaign’ looking at the structure of grass-roots activism and bottom-up politics. In this video titled ‘Solidarity’ he interviews campaigners in an attempt to get closer to a sense of what 'care' means and how this can manifest itself in contemporary society. Rees will also speak about his project 'Kelp', an attempt to rebrand tinned seaweed, a largely untapped resource in the West.
Dan Rees (b. 1982 Swansea, U.K.) lives and works in Berlin. Rees studied at the Städelschule from 2007- 2009 and graduated from Camberwell College of Arts, London in 2004.
Rees’ solo exhibitions include: ‘Stimulate Surprise’, Tanya Leighton Gallery (2015), ‘Kelp’, National Museum of Wales, Cardiff (2013); ‘Top Heavy’, T293, Rome (2013); Recent group exhibitions include: Extension du domaine du jeu [Expanding the field of play], Espace 315, Centre Pompidou, Paris; The go-between Museo Nazionale di Capodimonte, Naples, ‘Time Machine’, M-ARCO Foundation, Marseille (2013); ‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna (2012) and D’après Giorgio, Fondazione Giorgio e Isa de Chirico, Rome (2012).
Der Vortrag findet in englischer Sprache statt.
Dan Rees: Civic Pride
Montag, 22. Juni 2015, 19 Uhr, Aula
Dan Rees will speak about his painting practice, specifically his Artex series which mimic once fashionable decorative ceiling patterns, popular in 1970's Britain. He will introduce his ongoing project concerning the ‘Welsh Nicaraguan Solidarity Campaign’ looking at the structure of grass-roots activism and bottom-up politics. In this video titled ‘Solidarity’ he interviews campaigners in an attempt to get closer to a sense of what 'care' means and how this can manifest itself in contemporary society. Rees will also speak about his project 'Kelp', an attempt to rebrand tinned seaweed, a largely untapped resource in the West.
Dan Rees (b. 1982 Swansea, U.K.) lives and works in Berlin. Rees studied at the Städelschule from 2007- 2009 and graduated from Camberwell College of Arts, London in 2004.
Rees’ solo exhibitions include: ‘Stimulate Surprise’, Tanya Leighton Gallery (2015), ‘Kelp’, National Museum of Wales, Cardiff (2013); ‘Top Heavy’, T293, Rome (2013); Recent group exhibitions include: Extension du domaine du jeu [Expanding the field of play], Espace 315, Centre Pompidou, Paris; The go-between Museo Nazionale di Capodimonte, Naples, ‘Time Machine’, M-ARCO Foundation, Marseille (2013); ‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna (2012) and D’après Giorgio, Fondazione Giorgio e Isa de Chirico, Rome (2012).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 11. Juni 2015
Kerstin Cmelka
Vortrag
Kerstin Cmelka
Mittwoch, 17. Juni 2015, 19 Uhr, Aula
In her lecture Cmelka will talk about her ongoing series of „Microdramas“ – live performances, performance videos, photographs and artist books. Dramatic miniatures related to the popular play that she produces since 2008, often in collaboration with artist friends, actors, musicians and persons from the cultural field. They display dysfunctional relationships, gestures of care as well as the impossibilities of communication between people. In a new body of work she currently deals with professional acting techniques, coaching and the public and private personality of the performer.
Kerstin Cmelka is an artist who works primarily with performance, video and photography. Recent solo exhibitions include “Kerstin Cmelka mit Manuel Gorkiewicz, Mario Mentrup, Hanno Millesi und Mandla Reuter” at Badischer Kunstverein, Karlsruhe, 2015, “Mikrodrama#11” at Kunstverein Langenhagen, 2014 and “Kunst und Lebensform”, Halle für Kunst und Medien (-KM), Graz/Austria, 2013. From 1999-2005 Cmelka studied at the Staatliche Hochschule für Bildende Künste – Städelschule.
She lives in Berlin, where she currently works as a visiting professor at the University of Fine Arts.
Der Vortrag findet in englischer Sprache statt.
Kerstin Cmelka
Mittwoch, 17. Juni 2015, 19 Uhr, Aula
In her lecture Cmelka will talk about her ongoing series of „Microdramas“ – live performances, performance videos, photographs and artist books. Dramatic miniatures related to the popular play that she produces since 2008, often in collaboration with artist friends, actors, musicians and persons from the cultural field. They display dysfunctional relationships, gestures of care as well as the impossibilities of communication between people. In a new body of work she currently deals with professional acting techniques, coaching and the public and private personality of the performer.
Kerstin Cmelka is an artist who works primarily with performance, video and photography. Recent solo exhibitions include “Kerstin Cmelka mit Manuel Gorkiewicz, Mario Mentrup, Hanno Millesi und Mandla Reuter” at Badischer Kunstverein, Karlsruhe, 2015, “Mikrodrama#11” at Kunstverein Langenhagen, 2014 and “Kunst und Lebensform”, Halle für Kunst und Medien (-KM), Graz/Austria, 2013. From 1999-2005 Cmelka studied at the Staatliche Hochschule für Bildende Künste – Städelschule.
She lives in Berlin, where she currently works as a visiting professor at the University of Fine Arts.
Der Vortrag findet in englischer Sprache statt.
Sabeth Buchmann: Rehearsing Critique
Vortrag
Sabeth Buchmann: Rehearsing Critique
Dienstag, 16. Juni 2015, 19 Uhr, Aula
Sabeth Buchmann, art historian and critic, Berlin/ Vienna, Professor of the History of Modern and Postmodern Art at the Academy of Fine Arts, Vienna. Her publications include: Co-ed. Texte Theorien der Moderne. Alois Riegl in der Kunstkritik (with Rike Frank), Berlin: b_books/ PoLyPen, 2015; Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013) with Max Jorge Hinderer Cruz (co-author), Film Avantgarde Biopolitik (ed. with Helmut Draxler and Stephan Geene, 2009). Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2006), Art After Conceptual Art (ed. with Alexander Alberro, 2006), Co-ed. of PoLyPen (b_books, Berlin). Since 1997 Advisory Board Member of Texte zur Kunst (Berlin). 1983-2000: Member of the theatre author group minimal club (Munich/ Berlin)
Regeln des (Un-)Möglichen.
Zur Kunstpraxis der späten 1980er und frühen 1990er
Von der klassisch-avantgardistischen Frage nach der gesellschaftlichen Funktionsbestimmung von Kunst geleitet, wurde diese zwischen Mitte der 1980er und 1990er Jahre zum alles bestimmenden Gegenstand künstlerischer (Institutions-)Analysen. Die (mehr oder weniger gelingende) Offenlegung herrschender Normen und Gesetze ging dabei mit dem (mehr oder weniger gelingenden) Entwurf neuer Regelwerke und ‚role models’ einher: Zu nennen wären hier Christian-Philipp Müllers Kleiner Führer durch die ehemalige Kurfürstliche Gemäldesammlung Düsseldorf (1986), Andrea Frasers (Video-) Performances Museum Highlights: A Gallery Talk (1989) oder die neo-situationistischen ‚dérives’ der Betreiberinnen des Wiener Fanzines Artfan, Linda Bilda und Ariane Müller. Unter Bezugnahme auf damals populäre Methoden der Soziologie, social history, cultural studies und Psychoanalyse galt die Aufmerksamkeit dem übergreifenden Systems aus Produzent_innen, Rezipient_innen, Kurator_innen, Sammler_innen, Kritiker_innen, Kunsthistoriker_innen etc.. Als ein in diesem Zusammenhang bezeichnendes Beispiel kann Klaus Scherübels Projekt - Melvin (1993) - insofern gelten, als es die Mechanismen der (Künstler-)Kritik im Sinne wertgenerierender Legendenbildung zu antizipieren suchte. Der Vortrag geht anhand exemplarischer Arbeiten dem ‚(re-)making of rules’ als einer Praxis nach, die schließlich auch die Wechselwirkung von Institutionskritik und neoliberalen Unternehmenskultur berührt.
Der Vortrag findet in englischer Sprache statt.
Sabeth Buchmann: Rehearsing Critique
Dienstag, 16. Juni 2015, 19 Uhr, Aula
Sabeth Buchmann, art historian and critic, Berlin/ Vienna, Professor of the History of Modern and Postmodern Art at the Academy of Fine Arts, Vienna. Her publications include: Co-ed. Texte Theorien der Moderne. Alois Riegl in der Kunstkritik (with Rike Frank), Berlin: b_books/ PoLyPen, 2015; Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013) with Max Jorge Hinderer Cruz (co-author), Film Avantgarde Biopolitik (ed. with Helmut Draxler and Stephan Geene, 2009). Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2006), Art After Conceptual Art (ed. with Alexander Alberro, 2006), Co-ed. of PoLyPen (b_books, Berlin). Since 1997 Advisory Board Member of Texte zur Kunst (Berlin). 1983-2000: Member of the theatre author group minimal club (Munich/ Berlin)
Regeln des (Un-)Möglichen.
Zur Kunstpraxis der späten 1980er und frühen 1990er
Von der klassisch-avantgardistischen Frage nach der gesellschaftlichen Funktionsbestimmung von Kunst geleitet, wurde diese zwischen Mitte der 1980er und 1990er Jahre zum alles bestimmenden Gegenstand künstlerischer (Institutions-)Analysen. Die (mehr oder weniger gelingende) Offenlegung herrschender Normen und Gesetze ging dabei mit dem (mehr oder weniger gelingenden) Entwurf neuer Regelwerke und ‚role models’ einher: Zu nennen wären hier Christian-Philipp Müllers Kleiner Führer durch die ehemalige Kurfürstliche Gemäldesammlung Düsseldorf (1986), Andrea Frasers (Video-) Performances Museum Highlights: A Gallery Talk (1989) oder die neo-situationistischen ‚dérives’ der Betreiberinnen des Wiener Fanzines Artfan, Linda Bilda und Ariane Müller. Unter Bezugnahme auf damals populäre Methoden der Soziologie, social history, cultural studies und Psychoanalyse galt die Aufmerksamkeit dem übergreifenden Systems aus Produzent_innen, Rezipient_innen, Kurator_innen, Sammler_innen, Kritiker_innen, Kunsthistoriker_innen etc.. Als ein in diesem Zusammenhang bezeichnendes Beispiel kann Klaus Scherübels Projekt - Melvin (1993) - insofern gelten, als es die Mechanismen der (Künstler-)Kritik im Sinne wertgenerierender Legendenbildung zu antizipieren suchte. Der Vortrag geht anhand exemplarischer Arbeiten dem ‚(re-)making of rules’ als einer Praxis nach, die schließlich auch die Wechselwirkung von Institutionskritik und neoliberalen Unternehmenskultur berührt.
Der Vortrag findet in englischer Sprache statt.
Joshua Oppenheimer and Adi Rukun
Filmvorführung
The Act of Killing
Sonntag, 14. Juni 2015, 11:30 Uhr, Deutsches Filmmuseum
Einführung: Sung Tieu und Thuy-Han Nguyen-Chi
Filmvorführung
The Look of Silence
Montag, 15. Juni 2015, 18 Uhr, Deutsches Filmmuseum
Einführung: Joshua Oppenheimer
Für die Filmvorführungen bitten wir um Reservierung über folgenden Link:
http://goo.gl/forms/ZsUcq2IMr0
Podiumsdiskussion
Joshua Oppenheimer and Adi Rukun: Fictions Constituting Facts
Montag, 15. Juni 2015, 20:00 Uhr, Lichthalle
The panel discussion with Joshua Oppenheimer will focus on the psychological and philosophical, aesthetical and political dimensions of his approach to cinematography in The Act of Killing (2012) and The Look of Silence (2014) that redefines the relationship between filmmaker and subject, film and audience. While exploring the notions of cinéma vérité and “documentary of the imagination”, we will look into the role of fiction, fantasy, reenactment and dramatisation in Oppenheimer’s filmmaking philosophy. The interrelationships between self-perception and performance, history and cinema, past and present underlies this reflection on the complex process of directing both films within the socio-political context of Indonesia over the course of more than a decade.
Born in 1974, USA, Oscar-nominated film director Joshua Oppenheimer is recipient of a MacArthur “Genius Grant” (2015-2019). His debut feature film, The Act of Killing (2012, 159 min and 117 min), was named Film of the Year in the 2013 by the Guardian and the Sight and Sound Film Poll, and won 72 international awards. His second film, The Look of Silence (2014, 99 min), premiered In Competition at the 71st Venice Film Festival, where it won five awards including the Grand Jury Prize, the international critics award (Fipresci Prize) and the European film critics award (Fedeora Prize). Since then, The Look of Silence has received the Danish Academy Award for Best Documentary and the prestigious Danish Arts Council Award. Oppenheimer is a partner at Final Cut for Real in Denmark, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Die Veranstaltung findet in englischer Sprache statt.
The Act of Killing
Sonntag, 14. Juni 2015, 11:30 Uhr, Deutsches Filmmuseum
Einführung: Sung Tieu und Thuy-Han Nguyen-Chi
Filmvorführung
The Look of Silence
Montag, 15. Juni 2015, 18 Uhr, Deutsches Filmmuseum
Einführung: Joshua Oppenheimer
Für die Filmvorführungen bitten wir um Reservierung über folgenden Link:
http://goo.gl/forms/ZsUcq2IMr0
Podiumsdiskussion
Joshua Oppenheimer and Adi Rukun: Fictions Constituting Facts
Montag, 15. Juni 2015, 20:00 Uhr, Lichthalle
The panel discussion with Joshua Oppenheimer will focus on the psychological and philosophical, aesthetical and political dimensions of his approach to cinematography in The Act of Killing (2012) and The Look of Silence (2014) that redefines the relationship between filmmaker and subject, film and audience. While exploring the notions of cinéma vérité and “documentary of the imagination”, we will look into the role of fiction, fantasy, reenactment and dramatisation in Oppenheimer’s filmmaking philosophy. The interrelationships between self-perception and performance, history and cinema, past and present underlies this reflection on the complex process of directing both films within the socio-political context of Indonesia over the course of more than a decade.
Born in 1974, USA, Oscar-nominated film director Joshua Oppenheimer is recipient of a MacArthur “Genius Grant” (2015-2019). His debut feature film, The Act of Killing (2012, 159 min and 117 min), was named Film of the Year in the 2013 by the Guardian and the Sight and Sound Film Poll, and won 72 international awards. His second film, The Look of Silence (2014, 99 min), premiered In Competition at the 71st Venice Film Festival, where it won five awards including the Grand Jury Prize, the international critics award (Fipresci Prize) and the European film critics award (Fedeora Prize). Since then, The Look of Silence has received the Danish Academy Award for Best Documentary and the prestigious Danish Arts Council Award. Oppenheimer is a partner at Final Cut for Real in Denmark, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 8. Juni 2015
Jenny Sabin
Vortrag Architecture Class
Jenny Sabin: Matter Design Computation: Cells, Bits and Atoms
Donnerstag, 11. Juni 2015, 19 Uhr, Lichthalle
How might architecture respond to issues of ecology and sustainability whereby buildings behave more like organisms in their built environments? This talk will present ongoing trans-disciplinary research and design spanning across the fields of cell biology, materials science, physics, electrical and systems engineering, and architecture.
Jenny Sabin’s collaborative research, teaching and design practice focus on the contextual, material and formal intersections between architecture, science and technology. Through the visualisation and materialisation of dynamic and complex datasets, Sabin has generated a body of speculative and applied design work that aligns crafts-based techniques with digital fabrication alongside questions related to the body and information mediation. Her lecture will elucidate the research methods, prototypes and applications that Sabin and her collaborators have achieved, which aim to radically alter the paradigm of Responsive Architecture through architectural treatments, in the form of adaptive building skins, material assemblies, and architectural interventions that ultimately (re)configure their own performance based upon local criteria.
Jenny Sabin is an architect based in Philadelphia and Ithaca. She is currently the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University and Director of the Sabin Design Lab at Cornell AAP, a hybrid research and design unit .
She holds degrees in ceramics and interdisciplinary visual art from the University of Washington and a master of architecture from the University of Pennsylvania.Sabin is the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University.
Sabin's work has been exhibited nationally and internationally most recently at Nike Stadium NYC, the American Philosophical Society Museum and at Ars Electronic, Linz, Austria. Her work has been published in The Architectural Review, Azure, A+U, Metropolis, Mark Magazine, 306090, 10+1, ACM, American Journal of Pathology, Science, the New York Times, Wired Magazine, Metropolis and various exhibition catalogues and reviews. She co-authored Meander, Variegating Architecture with Ferda Kolatan, 2010.
Der Vortrag findet in englischer Sprache statt.
Jenny Sabin: Matter Design Computation: Cells, Bits and Atoms
Donnerstag, 11. Juni 2015, 19 Uhr, Lichthalle
How might architecture respond to issues of ecology and sustainability whereby buildings behave more like organisms in their built environments? This talk will present ongoing trans-disciplinary research and design spanning across the fields of cell biology, materials science, physics, electrical and systems engineering, and architecture.
Jenny Sabin’s collaborative research, teaching and design practice focus on the contextual, material and formal intersections between architecture, science and technology. Through the visualisation and materialisation of dynamic and complex datasets, Sabin has generated a body of speculative and applied design work that aligns crafts-based techniques with digital fabrication alongside questions related to the body and information mediation. Her lecture will elucidate the research methods, prototypes and applications that Sabin and her collaborators have achieved, which aim to radically alter the paradigm of Responsive Architecture through architectural treatments, in the form of adaptive building skins, material assemblies, and architectural interventions that ultimately (re)configure their own performance based upon local criteria.
Jenny Sabin is an architect based in Philadelphia and Ithaca. She is currently the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University and Director of the Sabin Design Lab at Cornell AAP, a hybrid research and design unit .
She holds degrees in ceramics and interdisciplinary visual art from the University of Washington and a master of architecture from the University of Pennsylvania.Sabin is the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University.
Sabin's work has been exhibited nationally and internationally most recently at Nike Stadium NYC, the American Philosophical Society Museum and at Ars Electronic, Linz, Austria. Her work has been published in The Architectural Review, Azure, A+U, Metropolis, Mark Magazine, 306090, 10+1, ACM, American Journal of Pathology, Science, the New York Times, Wired Magazine, Metropolis and various exhibition catalogues and reviews. She co-authored Meander, Variegating Architecture with Ferda Kolatan, 2010.
Der Vortrag findet in englischer Sprache statt.
Montag, 1. Juni 2015
Corin Hewitt
Vortrag
Corin Hewitt: All Window
Dienstag, 9. Juni 2015, 19 Uhr, Aula
Corin Hewitt will speak on his work both as an artist and as an educator. Hewitt’s materially rigorous work employs cycles of photography, video, performance, and sculpture in an investigation of image and object making systems. Hewitt will discuss the evolution of his work and thoughts. He will also discuss a series of projects he has done with students using color as a narrative structure to develop large both films and large scale performance works.
Hewitt has exhibited widely including solo exhibitions at the Whitney Museum of American Art, Museum of Contemporary Art in Cleveland, and the Seattle Art Museum. His work has recently been recently included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; the Sao Paolo Biennial in Brazil, ; the Whitney Museum, the Henry Art Gallery, Seattle; Galerie Perrotin, Paris, with the Public Art Fund in New York, and the Wanas Foundation in Sweden.Hewitt is a recipient of the 2014/15 Rome Prize, a 2011/12 Guggenheim Fellowship, and a Joan Mitchell Foundation Grant in 2010/11. Mousse Publishing has just released a monograph on Hewitt’s work entiitled 7 Perfomances. Hewitt is represented by Laurel Gitlen Gallery in New York and Hewitt is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University.
Der Vortrag findet in englischer Sprache statt.
Corin Hewitt: All Window
Dienstag, 9. Juni 2015, 19 Uhr, Aula
Corin Hewitt will speak on his work both as an artist and as an educator. Hewitt’s materially rigorous work employs cycles of photography, video, performance, and sculpture in an investigation of image and object making systems. Hewitt will discuss the evolution of his work and thoughts. He will also discuss a series of projects he has done with students using color as a narrative structure to develop large both films and large scale performance works.
Hewitt has exhibited widely including solo exhibitions at the Whitney Museum of American Art, Museum of Contemporary Art in Cleveland, and the Seattle Art Museum. His work has recently been recently included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; the Sao Paolo Biennial in Brazil, ; the Whitney Museum, the Henry Art Gallery, Seattle; Galerie Perrotin, Paris, with the Public Art Fund in New York, and the Wanas Foundation in Sweden.Hewitt is a recipient of the 2014/15 Rome Prize, a 2011/12 Guggenheim Fellowship, and a Joan Mitchell Foundation Grant in 2010/11. Mousse Publishing has just released a monograph on Hewitt’s work entiitled 7 Perfomances. Hewitt is represented by Laurel Gitlen Gallery in New York and Hewitt is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University.
Der Vortrag findet in englischer Sprache statt.
Mai-Thu Perret
Vortrag
Mai-Thu Perret: See you on the astral plane – Objects, Narration, Performance.
Montag, 8. Juni 2015, 19 Uhr, Aula
Mai-Thu Perret is an artist who lives in Geneva, Switzerland. She is known for her multi-disciplinary practice encompassing sculpture, painting, video and installation. Perret has created a complex oeuvre which combines radical feminist politics with literary texts, homemade crafts and 20th century avant-garde aesthetics. She was born in Geneva and studied at Cambridge University and the Whitney Independent Study Program, New York. She has been awarded for both the 2011 Zurich Art Prize and le Prix Culturel Manor (2011) and took part in ILLUMInations (curated by Bice Curiger) at the 54th Venice Biennale. In 2016, Mai-Thu Perret will be the subject of a solo exhibition at the Nasher Sculpture Center, Dallas. Curating has played an important role in her practice since its inception. Among other shows she has organized Voids: A Retrospective (Centre Pompidou, Paris and Kunsthalle Bern, with John Armleder, Mathieu Copeland, Gustav Metzger and Clive Philpot).
The lecture will focus on the interplay between narrative and materiality in her work, from early experiments with a story called The Crystal Frontier to her engagement with wider historical narratives about art and politics in video installations such as An Evening of the Book. She especially wants to discuss the recent performance piece Figures, which is a collaboration between herself and dancer Anja Schmidt, musician Beatrice Dillon and singer-songwriter Tamara Barnett-Herrin.
Der Vortrag findet in englischer Sprache statt.
Mai-Thu Perret: See you on the astral plane – Objects, Narration, Performance.
Montag, 8. Juni 2015, 19 Uhr, Aula
Mai-Thu Perret is an artist who lives in Geneva, Switzerland. She is known for her multi-disciplinary practice encompassing sculpture, painting, video and installation. Perret has created a complex oeuvre which combines radical feminist politics with literary texts, homemade crafts and 20th century avant-garde aesthetics. She was born in Geneva and studied at Cambridge University and the Whitney Independent Study Program, New York. She has been awarded for both the 2011 Zurich Art Prize and le Prix Culturel Manor (2011) and took part in ILLUMInations (curated by Bice Curiger) at the 54th Venice Biennale. In 2016, Mai-Thu Perret will be the subject of a solo exhibition at the Nasher Sculpture Center, Dallas. Curating has played an important role in her practice since its inception. Among other shows she has organized Voids: A Retrospective (Centre Pompidou, Paris and Kunsthalle Bern, with John Armleder, Mathieu Copeland, Gustav Metzger and Clive Philpot).
The lecture will focus on the interplay between narrative and materiality in her work, from early experiments with a story called The Crystal Frontier to her engagement with wider historical narratives about art and politics in video installations such as An Evening of the Book. She especially wants to discuss the recent performance piece Figures, which is a collaboration between herself and dancer Anja Schmidt, musician Beatrice Dillon and singer-songwriter Tamara Barnett-Herrin.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 28. Mai 2015
Mario Carpo: The style of big data.
Vortrag Architecture Class
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Philipp Demandt: Nur keine violetten Schweine!
Vortrag Curatorial Studies
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Montag, 25. Mai 2015
Louis Becker: People, Space, Daylight
Vortrag Architecture Class
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon
Vortrag Curatorial Studies
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 21. Mai 2015
Philipp Demandt: Nur keine violetten Schweine!
Vortrag
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Mittwoch, 20. Mai 2015
Bisi Silva: Curating The Local
Vortrag
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Montag, 18. Mai 2015
Bouchra Khalili: Foreign Office
Vortrag
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Montag, 11. Mai 2015
Cara Benedetto: buy to possess, love to own
Vortrag
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Vortrag
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
Freitag, 24. April 2015
Loretta Fahrenholz
Vortrag
Loretta Fahrenholz
Dienstag, 28. April 2015, 19 Uhr, Aula
During the past few years Fahrenholz has gained recognition for a style of digital cinema that merges an old school documentary ethic with the manipulations of contemporary image technologies. Inserting her camera into live social situations and institutional contexts, the artist constructs narratives with the real, using digital post-production to produce reconstructed documents. Her juxtaposition of pop culture references with intense human interactions creates an uneasy presence on screen and nods towards our interpersonal connections of the near future.
The talk will focus on Fahrenholz's New York films Implosion, an adaptation of a Kathy Acker script in a high rise condo near Ground Zero in Manhattan, Grand Openings Return of the Blogs, documenting a performance series of the collective Grand Openings at MoMA in 2011 and Ditch Plains, a futuristic disaster movie shot in Brooklyn at the time of Hurricane Sandy.
Loretta Fahrenholz lives in Berlin and New York. Recent films include: My Throat, My Air (2014); Ditch Plains (2013); Grand Openings Return of the Blogs (2012); Implosion (2011) and Haust (2010). Fahrenholz work has been shown at Galerie Buchholz, Cologne (2015); Reena Spaulings Fine Arts, New York (2013), The Hammer Museum, Los Angeles (2015), Modern Art Oxford, Oxford, United Kingdom (2014); 10th Shanghai Biennale (2014); Museum of Contemporary African Diasporan Arts, Brooklyn, (2014), Institute of Contemporary Arts, London (2014); Museum of Modern Art, Warsaw (2014); KW Institute for Contemporary Art, Berlin (2014); Kunsthalle Basel, Basel, Switzerland (2014); Artists Space, New York (2013); Arnolfini, Bristol, United Kingdom (2013); Sprengel Museum, Hannover, Germany (2012); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012).
Der Vortrag findet in englischer Sprache statt.
Loretta Fahrenholz
Dienstag, 28. April 2015, 19 Uhr, Aula
During the past few years Fahrenholz has gained recognition for a style of digital cinema that merges an old school documentary ethic with the manipulations of contemporary image technologies. Inserting her camera into live social situations and institutional contexts, the artist constructs narratives with the real, using digital post-production to produce reconstructed documents. Her juxtaposition of pop culture references with intense human interactions creates an uneasy presence on screen and nods towards our interpersonal connections of the near future.
The talk will focus on Fahrenholz's New York films Implosion, an adaptation of a Kathy Acker script in a high rise condo near Ground Zero in Manhattan, Grand Openings Return of the Blogs, documenting a performance series of the collective Grand Openings at MoMA in 2011 and Ditch Plains, a futuristic disaster movie shot in Brooklyn at the time of Hurricane Sandy.
Loretta Fahrenholz lives in Berlin and New York. Recent films include: My Throat, My Air (2014); Ditch Plains (2013); Grand Openings Return of the Blogs (2012); Implosion (2011) and Haust (2010). Fahrenholz work has been shown at Galerie Buchholz, Cologne (2015); Reena Spaulings Fine Arts, New York (2013), The Hammer Museum, Los Angeles (2015), Modern Art Oxford, Oxford, United Kingdom (2014); 10th Shanghai Biennale (2014); Museum of Contemporary African Diasporan Arts, Brooklyn, (2014), Institute of Contemporary Arts, London (2014); Museum of Modern Art, Warsaw (2014); KW Institute for Contemporary Art, Berlin (2014); Kunsthalle Basel, Basel, Switzerland (2014); Artists Space, New York (2013); Arnolfini, Bristol, United Kingdom (2013); Sprengel Museum, Hannover, Germany (2012); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012).
Der Vortrag findet in englischer Sprache statt.
Peter Wächtler
Vortrag
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Montag, 20. April 2015
Zin Taylor: Stripes and Dots on the Isle of Portikus
Ausstellung zur Nacht der Museen
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Nina Power: Philosophy and the public
Vortrag
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Vortrag
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo
Vortrag
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 3. Februar 2015
Raimundas Malašauskas
Vortrag
Raimundas Malašauskas
Mittwoch, 4. Februar 2015, 19 Uhr, Aula
The story of complex objects is told by apparently random structures that organize the attention and intensity of all that is around. That means you always have to watch out for them not to fall on your head. Yet on the positive side, it means that everything is here and available and you need no striving. You only need interferences and deviations to be able to move through them, in unexpected jerks and flows, a bit like the axolotl and the way it manages to swim without coordinating its limbs – sometimes it just freezes for a while. And this talk too is a projection device for a three-dimensional, possibly inconspicuous image to emerge, imprinted on time as their recording medium.
Raimundas Malašauskas was born in Vilnius (Lithuania), curates in the world, writes occasionally. His most recent public projects include In My Previous Life I Wanted To Be a Tablet, Instituto de Vision, Bogota (2015); Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires (2014); and Oo, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).
Der Vortrag findet in englischer Sprache statt.
Raimundas Malašauskas
Mittwoch, 4. Februar 2015, 19 Uhr, Aula
The story of complex objects is told by apparently random structures that organize the attention and intensity of all that is around. That means you always have to watch out for them not to fall on your head. Yet on the positive side, it means that everything is here and available and you need no striving. You only need interferences and deviations to be able to move through them, in unexpected jerks and flows, a bit like the axolotl and the way it manages to swim without coordinating its limbs – sometimes it just freezes for a while. And this talk too is a projection device for a three-dimensional, possibly inconspicuous image to emerge, imprinted on time as their recording medium.
Raimundas Malašauskas was born in Vilnius (Lithuania), curates in the world, writes occasionally. His most recent public projects include In My Previous Life I Wanted To Be a Tablet, Instituto de Vision, Bogota (2015); Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires (2014); and Oo, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).
Der Vortrag findet in englischer Sprache statt.
Montag, 26. Januar 2015
Stuart Bailey
Vortrag
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw
Vortrag
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 20. Januar 2015
Isla Leaver-Yap
Vortrag
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Montag, 8. Dezember 2014
Ellen Blumenstein
Vortrag Curatorial Studies
Ellen Blumenstein: Why Curating Thematically: Fire and Forget, an Exhibition Project at KW
Mittwoch, 10. Dezember 2014, 19 Uhr, Aula
"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition Fire and Forget takes the military expression as the starting point for an examination of the conventional ideas about war and armed force. The project revolves around the new dimensions of violence that go with the new technologies, and the new strategies required by this central challenge to our future coexistence. The exhibition is oriented towards the most visible agent of violence: weapons. Fire and Forget applies the means of art to address the long-term effects of these new weapons on the human psyche. The exhibition looks at the political aporia this new detachment between physical violence and imminent threat involves and at the meaning that history, recollection and forgetting may have for the outbreak or avoidance of violence under these new conditions.
Ellen Blumenstein *1976 in Witzenhausen, Germany lives and works in Berlin. Blumenstein has been chief curator of KW Institute for contemporary art, Berlin since January 2013. In her first year, she realized the exhibitions "Relaunch", "Kader Attia: Repair. 5 Acts" and "Real Emotions: Thinking in Film", as well as launching comprehensive public programs and professional partnerships. In her second year she premiered the first solo exhibitions in Germany of artists Ryan Trecartin, Kate Cooper, Channa Horwitz and Elin Hansdottir. Before KW, she was an independent curator, member of the curatorial collective THE OFFICE and founder of the project space Salon Populaire. Between 1998-2005 she worked as a curator for KW Institute for Contemporary Art, where she realized the exhibition project "Regarding Terror: The RAF-Exhibition" (with Klaus Biesenbach, Felix Ensslin, 2005). Since, she curated the exhibition "Between Two Deaths" at ZKM in Karlsruhe (with Felix Ensslin, 2007), and in 2011 she curated the Icelandic Pavilion at the Venice Biennial (Libia Castro and "lafur "lafsson).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 27. November 2014
Josef Strau
Vortrag
Josef Strau
Mittwoch, 3. Dezember 2014, 19 Uhr, Aula
The lecture can be understood as the second part of a lecture Josef Strau did in Städelschule already in 2011. It could be seen like a lecture but more as an exercise in extemporaneous talk, thus reintroducing a model of working, that appears a dominant figure in many of his productions, like in writing, exhibiting or jewelry making, albeit always following predetermined or ready made story lines, that interweave issues of art production, history, social hierarchy, theology or of traveling. In a similar way in his exhibition and publication The New World Josef Strau recently used fragments of historic first encounter reports of Europeans with Native Americans to retell in an improvised mode of production his own story of gratitude through moments of contemporary encounters within the United States and Mexico, trying to create through these both complex or sometimes simplified narratives a seamless whole of a partly fictional fantasy of redemption in contemporary culture.
Josef Strau worked in the last years in different roles, mostly as artist and as writer, but as well as jeweler, curator and art space organizer. Recent solo exhibitions include The New World, The Application, Renaissance Society, Chicago 2014 and House of Gaga, Mexico City 2013 and Greene Naftali Gallery, New York, 2012. In 2002, Strau founded Galerie Meerrettich, an independent Berlin gallery that closed in 2006. Strau is also a writer, not only in most of his own art production but also contributing to independently produced art publications, catalogue essays and art magazines.
Der Vortrag findet in englischer Sprache statt.
REN_STRAU_Poster_web.pdf
Josef Strau
Mittwoch, 3. Dezember 2014, 19 Uhr, Aula
The lecture can be understood as the second part of a lecture Josef Strau did in Städelschule already in 2011. It could be seen like a lecture but more as an exercise in extemporaneous talk, thus reintroducing a model of working, that appears a dominant figure in many of his productions, like in writing, exhibiting or jewelry making, albeit always following predetermined or ready made story lines, that interweave issues of art production, history, social hierarchy, theology or of traveling. In a similar way in his exhibition and publication The New World Josef Strau recently used fragments of historic first encounter reports of Europeans with Native Americans to retell in an improvised mode of production his own story of gratitude through moments of contemporary encounters within the United States and Mexico, trying to create through these both complex or sometimes simplified narratives a seamless whole of a partly fictional fantasy of redemption in contemporary culture.
Josef Strau worked in the last years in different roles, mostly as artist and as writer, but as well as jeweler, curator and art space organizer. Recent solo exhibitions include The New World, The Application, Renaissance Society, Chicago 2014 and House of Gaga, Mexico City 2013 and Greene Naftali Gallery, New York, 2012. In 2002, Strau founded Galerie Meerrettich, an independent Berlin gallery that closed in 2006. Strau is also a writer, not only in most of his own art production but also contributing to independently produced art publications, catalogue essays and art magazines.
Der Vortrag findet in englischer Sprache statt.
REN_STRAU_Poster_web.pdf
Mittwoch, 26. November 2014
Elif Erkan & Fabian Schöneich
Gespräch
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Montag, 17. November 2014
David Ruy
Vortrag
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 13. November 2014
Zasha Colah
Vortrag Masterstudiengang Kuratieren und Kritik
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Montag, 10. November 2014
Gabriel Lester
Vortrag
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Freitag, 31. Oktober 2014
Tom McCarthy & Clémentine Deliss
Gespräch
Tom McCarthy & Clémentine Deliss: Just a Lump of Some Black Substance
Donnerstag, 6. November 2014, 19 Uhr, Aula
Tom McCarthy *1969 lives in London. His first two novels, Remainder and Men In Space, have been published internationally to much acclaim. Remainder, winner of the Believer Prize 2008, is currently being adapted for film by FILM 4. Tom's latest novel C was shortlisted for the Booker Prize in 2010 and went on to win the highly valued new Win Windham-Campbell award in 2013.
McCarthy is also known for the reports, manifestos and media interventions that he has made as General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network. A fluent commentator on both written and visual arts, Tom has made guest appearances on BBC Radio 4’s Today programme, and writes for a wide variety of print publications such as the Independent, London Review of Books, TLS, and Another Magazine. His non-fiction book Tintin and the Secret of Literature was praised as innovative work of literary criticism.
Clémentine Deliss is a curator and publisher who has been the director of the Weltkulturen Museum in Frankfurt am Main since 2010. In 2005, she published the first edition of Remainder by Tom McCarthy as part of her Metronome and Metronome Press, Paris, initiatives. Deliss studied contemporary art and social anthropology in Vienna, London and Paris and holds a PhD from the University of London (1988, SOAS). Her curatorial work extends beyond exhibitions and has included publishing and research.
Die Veranstaltung findet in englischer Sprache statt.
Tom McCarthy & Clémentine Deliss: Just a Lump of Some Black Substance
Donnerstag, 6. November 2014, 19 Uhr, Aula
Tom McCarthy *1969 lives in London. His first two novels, Remainder and Men In Space, have been published internationally to much acclaim. Remainder, winner of the Believer Prize 2008, is currently being adapted for film by FILM 4. Tom's latest novel C was shortlisted for the Booker Prize in 2010 and went on to win the highly valued new Win Windham-Campbell award in 2013.
McCarthy is also known for the reports, manifestos and media interventions that he has made as General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network. A fluent commentator on both written and visual arts, Tom has made guest appearances on BBC Radio 4’s Today programme, and writes for a wide variety of print publications such as the Independent, London Review of Books, TLS, and Another Magazine. His non-fiction book Tintin and the Secret of Literature was praised as innovative work of literary criticism.
Clémentine Deliss is a curator and publisher who has been the director of the Weltkulturen Museum in Frankfurt am Main since 2010. In 2005, she published the first edition of Remainder by Tom McCarthy as part of her Metronome and Metronome Press, Paris, initiatives. Deliss studied contemporary art and social anthropology in Vienna, London and Paris and holds a PhD from the University of London (1988, SOAS). Her curatorial work extends beyond exhibitions and has included publishing and research.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 30. Oktober 2014
El Hadji Sy & Philippe Pirotte
Gespräch
El Hadji Sy & Philippe Pirotte
Dienstag, 4. November 2014, 19 Uhr, Aula
El Hadji Sy was born 1954 in Dakar and studied Fine Art at the Ecole Nationale des Beaux-Arts in Dakar. As a painter, curator, and cultural activist, El Hadji Sy’s interdisciplinary practice represents a pioneering model within the context of post-Independence Africa. Exhibited internationally as a painter since the late-1970s and hailed by the late Senegalese poet and President, Léopold Sédar Senghor, he is equally known for his rebellious attitude towards state cultural policy. In his capacity as artist and activist, El Hadji Sy co-founded the avant-garde performance group Laboratoire AGIT’art, was the lead instigator of the international artist-led Tenq workshops and Villages des Arts in Dakar, and a key collaborator of the interventionist group Huit Facettes. Between 1985-89, he was commissioned by the Weltkulturen Museum in Frankfurt to develop a new collection of Senegalese art and to co-edit a critical anthology on visual practice in Senegal. In the mid-1990s, his work as artist-curator was presented at the Whitechapel Gallery London and Konsthalle Malmö in Seven Stories about Modern Art in Africa, and he took part in several international exhibitions. Most recently, for the 31st Bienal of São Paulo, Sy developed a 16-metre-long painting-installation to be activated by dancers on the theme of marine archaeology.
Philippe Pirotte *1972, is a Belgian art historian, critic, curator of numerous international exhibitions and since 2014 Rector of Staatliche Hochschule für Bildende Künste – Städelschule Frankfurt am Main. He studied Art History at Ghent University. In 1999 he co-founded the art center objectif_exhibitions in Antwerp, from 2005 to 2011, he was Director of Kunsthalle Bern and since 2012 he is Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. As a writer, Pirotte contributed a.o. to Nka – Journal of Contemporary African Art, and Afterall magazine.
Die Veranstaltung findet in englischer Sprache statt.
El Hadji Sy & Philippe Pirotte
Dienstag, 4. November 2014, 19 Uhr, Aula
El Hadji Sy was born 1954 in Dakar and studied Fine Art at the Ecole Nationale des Beaux-Arts in Dakar. As a painter, curator, and cultural activist, El Hadji Sy’s interdisciplinary practice represents a pioneering model within the context of post-Independence Africa. Exhibited internationally as a painter since the late-1970s and hailed by the late Senegalese poet and President, Léopold Sédar Senghor, he is equally known for his rebellious attitude towards state cultural policy. In his capacity as artist and activist, El Hadji Sy co-founded the avant-garde performance group Laboratoire AGIT’art, was the lead instigator of the international artist-led Tenq workshops and Villages des Arts in Dakar, and a key collaborator of the interventionist group Huit Facettes. Between 1985-89, he was commissioned by the Weltkulturen Museum in Frankfurt to develop a new collection of Senegalese art and to co-edit a critical anthology on visual practice in Senegal. In the mid-1990s, his work as artist-curator was presented at the Whitechapel Gallery London and Konsthalle Malmö in Seven Stories about Modern Art in Africa, and he took part in several international exhibitions. Most recently, for the 31st Bienal of São Paulo, Sy developed a 16-metre-long painting-installation to be activated by dancers on the theme of marine archaeology.
Philippe Pirotte *1972, is a Belgian art historian, critic, curator of numerous international exhibitions and since 2014 Rector of Staatliche Hochschule für Bildende Künste – Städelschule Frankfurt am Main. He studied Art History at Ghent University. In 1999 he co-founded the art center objectif_exhibitions in Antwerp, from 2005 to 2011, he was Director of Kunsthalle Bern and since 2012 he is Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. As a writer, Pirotte contributed a.o. to Nka – Journal of Contemporary African Art, and Afterall magazine.
Die Veranstaltung findet in englischer Sprache statt.
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