Gespräch
Katharina Fritsch im Gespräch mit Julian Heynen
Freitag, 30. November 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Katharina Fritsch wird 1956 in Essen geboren. Sie ergreift zunächst das Studium Geschichte und Kunstgeschichte in Münster, wechselt jedoch 1977 die Fächer und geht an die Kunstakademie Düsseldorf, an der sie bei Fritz Schwegler bis 1984 studiert. 2001 erhält Fritsch eine Professur für Bildhauerei an der Kunstakademie Münster und seit 2010 lehrt sie an der Kunstakademie Düsseldorf.
Ihre Skulpturen, Objekte, Bilder und Installationen spielen mit der Spannung von Realität und Irrealem, von Surrealem und Unheimlichem, von Sein und Schein. In ihrer plakativen Zeichenhaftigkeit, ihrer Einprägsamkeit weisen die in veränderten medialen Zusammenhängen gezeigten Objekte durchaus Parallelen zur populären Bildwelt, zu computergenerierten Icons und Bildkürzeln oder comichaften Figuren auf.
Fritschs Objekte basieren auf einem die künstlerische »Vision« rekonstruierenden, aber zugleich auch an den industriell gefertigten figürlichen Alltagserzeugnissen ausgerichteten skulpturalen Entwicklungsprozess. Die Künstlerin bedient sich dabei aktueller Fabrikationstechniken, produziert Prototypen aus Polyester, Plastik, Plexiglas. Werke wie ihre bekannte Tischgesellschaft (1988), eine Installation männlicher Figuren an zwei Seiten eines langen, ornamental bedeckten Tisches, zeigen dies in ihrer formalisierten Figürlichkeit und der deckenden schwarz-weißen Farbigkeit der seriellen Gestalten, die dem gesamten Ensemble eine ebenso unpersönliche wie irreale Dimension verleihen. Zugleich erscheinen solche Arbeiten auch wie skulpturale Fassungen medial vermittelter Bilder, wie manifest gewordene Klischees.
Julian Heynen studierte Kunst- und Literaturgeschichte und promovierte über den amerikanischen Maler Barnett Newman. Seit den achtziger Jahren Kurator und Autor für zeitgenössische Kunst. Assistent am Wilhelm-Lehmbruck-Museum, Duisburg, Ausstellungsleiter und stellv. Direktor der Krefelder Kunstmuseen (Museum Haus Lange, Museum Haus Esters, Kaiser Wilhelm Museum). Danach Künstlerischer Leiter von K21 Kunstsammlung Nordrhein-Westfalen. Seit 2009 Künstlerischer Leiter für besondere Aufgaben bei der Kunstsammlung Nordrhein-Westfalen. 2003 und 2005 Kommissar des deutschen Pavillons auf der Biennale von Venedig, 2007 Ko-Kurator der Shanghai Biennale. 2007 bis 2010 Teilnehmer der Fernsehsendung „Bilderstreit“ (3SAT).
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Montag, 26. November 2012
Michael Stevenson
Vortrag
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller
Vortrag
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 20. November 2012
Jerry Tartaglia
Vortrag
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Charles Esche
Vortrag
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
Montag, 12. November 2012
Wolfgang Tillmans
Vortrag
Wolfgang Tillmans
Mittwoch, 14. November 2012, 19 Uhr, Lichthalle
Wolfgang Tillmans was born 1968 in Remscheid/Germany and currently lives/works in Berlin & London.
He was a full-time professor for interdisciplinary art from 2003 to 2009 and is presently a honorary professor at the Städelschule.
Since 2006 he runs the exhibition space „Between Bridges“ in London.
Tillmans first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.
Recently Tillmans' art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closley related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance.
In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.
In the year 2000, he was awarded the prestigious Turner Prize, the first non-British artist and the first photographer to receive the prize.
In this talk Wolfgang Tillmans will present work he made since 2009, when his time of regular teaching at Städelschule ended.
Die Veranstaltung findet in englischer Sprache statt.
Im Anschluss findet ein von den Studierenden ausgerichteter Umtrunk in der Mensa statt.
Wolfgang Tillmans
Mittwoch, 14. November 2012, 19 Uhr, Lichthalle
Wolfgang Tillmans was born 1968 in Remscheid/Germany and currently lives/works in Berlin & London.
He was a full-time professor for interdisciplinary art from 2003 to 2009 and is presently a honorary professor at the Städelschule.
Since 2006 he runs the exhibition space „Between Bridges“ in London.
Tillmans first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.
Recently Tillmans' art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closley related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance.
In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.
In the year 2000, he was awarded the prestigious Turner Prize, the first non-British artist and the first photographer to receive the prize.
In this talk Wolfgang Tillmans will present work he made since 2009, when his time of regular teaching at Städelschule ended.
Die Veranstaltung findet in englischer Sprache statt.
Im Anschluss findet ein von den Studierenden ausgerichteter Umtrunk in der Mensa statt.
Dienstag, 6. November 2012
Georges Didi-Hubermann
Vortrag
Georges Didi-Hubermann: Photos, Pathos, Pothos – L'«Image Vivante» Selon Roland Barthes
Institut für Kunstkritik
Freitag, 9. November 2012, 19 Uhr, Lichthalle
With more than 30 publications dedicated to the history and theory of images, Georges Didi-Huberman is one of the most recognized French intellectuals. As a philosopher and art historian, he has published prolific books such as «Ce que nous voyons, ce qui nous regarde» (1992) and «Images in Spite of all: Four Photographs from Auschwitz» (2012). Didi-Huberman teaches at the Ecole des Hautes Etudes en Sciences Sociales and curated several exhibitions including «L'Empreinte» at Centre Georges Pompidou (1997) and «ATLAS. How to Carry the World on One's Back?» at the ZKM in Karlsruhe (2011).
A Project within the Framework of the European Cultural Days of the ECB - France 2012
in Cooperation with Institut Français D' Historie en Allemagne
Georges Didi-Hubermann: Photos, Pathos, Pothos – L'«Image Vivante» Selon Roland Barthes
Institut für Kunstkritik
Freitag, 9. November 2012, 19 Uhr, Lichthalle
With more than 30 publications dedicated to the history and theory of images, Georges Didi-Huberman is one of the most recognized French intellectuals. As a philosopher and art historian, he has published prolific books such as «Ce que nous voyons, ce qui nous regarde» (1992) and «Images in Spite of all: Four Photographs from Auschwitz» (2012). Didi-Huberman teaches at the Ecole des Hautes Etudes en Sciences Sociales and curated several exhibitions including «L'Empreinte» at Centre Georges Pompidou (1997) and «ATLAS. How to Carry the World on One's Back?» at the ZKM in Karlsruhe (2011).
A Project within the Framework of the European Cultural Days of the ECB - France 2012
in Cooperation with Institut Français D' Historie en Allemagne
Gelitin
Vortrag
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
Gelitin: There is no Texture like Showtexture
Donnerstag, 8. November 2012, 19 Uhr, Lichthalle
Viennese artist collective Gelitin describe themselves as follows: "Gelitin is comprised of four artists. They met first in 1978 when they all attended a summer camp. They have been playing and working together. From 1993 they began exhibiting internationally."
Gelitin´s solo shows include "The Fall Show" at Greene Naftali Gallery (New York, 2012), "La Louvre - Paris" at the Musée d'Art moderne de la Ville de Paris (2008), Chinese Synthese Leberkäse at Kunsthaus Bregenz (2006), and "Die totale Osmose", a swamp surrounding the Austrian Pavilion at the Biennale di Venezia 2001. Their work has been presented in numerous group exhibitions such as the "Gelatin Pavilion" at the Biennale di Venezia (2011), "Zapf de Pipi", a sculpture of frozen urine at the 1st Moscow Biennale of Contemporary Art (2005), "Armpit", a human elevator of body builders at the Liverpool Biennale (2002), and "True Love IV" at the Gwangju Biennale (2002).
In cooperation with Rossmarkt 3
Die Veranstaltung findet in englischer Sprache statt.
Montag, 22. Oktober 2012
David Cunningham
Vortrag
David Cunningham: Discontinuity, Digression and Non-Intentionality
Dienstag, 23. Oktober 2012, 19 Uhr, Aula
Some people know David Cunningham's work as an artist whose installations explore the spectator's real time experience of the acoustic properties of a space. Others are more familiar with his parallel life as a record producer and musician who over many years has worked with an eclectic range of people, amongst many others The Flying Lizards, Michael Nyman, Johnny Thunders and Martin Creed. As composer, producer or performer Cunningham is driven by a strong impulse to collaborate which is directed in his artwork not only towards the musicians or artists he has worked with but crucially to the audience as well.
This is integral to his installation works which have inhabited the 11th Biennale of Sydney, Tate Britain, ICC Tokyo, Ikon Birmingham and more recently 1m3 Lausanne. These installations articulate the acoustics of a space in real time, an audible phenomenon integrated with the presence of the spectator.
Die Veranstaltung findet in englischer Sprache statt.
David Cunningham: Discontinuity, Digression and Non-Intentionality
Dienstag, 23. Oktober 2012, 19 Uhr, Aula
Some people know David Cunningham's work as an artist whose installations explore the spectator's real time experience of the acoustic properties of a space. Others are more familiar with his parallel life as a record producer and musician who over many years has worked with an eclectic range of people, amongst many others The Flying Lizards, Michael Nyman, Johnny Thunders and Martin Creed. As composer, producer or performer Cunningham is driven by a strong impulse to collaborate which is directed in his artwork not only towards the musicians or artists he has worked with but crucially to the audience as well.
This is integral to his installation works which have inhabited the 11th Biennale of Sydney, Tate Britain, ICC Tokyo, Ikon Birmingham and more recently 1m3 Lausanne. These installations articulate the acoustics of a space in real time, an audible phenomenon integrated with the presence of the spectator.
Die Veranstaltung findet in englischer Sprache statt.
HANS-PETER FELDMANN & HANS ULRICH OBRIST
Vortrag
Hans-Peter Feldmann im Gespräch mit Hans Ulrich Obrist
Montag, 22. Oktober 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Hans-Peter Feldmann lebt und arbeitet in Düsseldorf. Wichtigste Werke Feldmanns in der Sammlung des MMK sind die Serie Die Toten, 1967 – 1993 (1996 – 1998) und Das Kinderzimmer (2002).
Hans Ulrich Obrist ist Kurator und Kritiker. Seit 2006 Co-Direktor der Serpentine Gallery in London.
Mit dem Künstler und dem Kurator treffen beim nächsten MMK Talk zwei alte Bekannte aufeinander. Feldmann und Obrist arbeiteten bereits 1991 im Rahmen der ersten von Obrist kuratierten Ausstellung "The Kitchen Show" zusammen, bei der die Küche des Kurators in St. Gallen zum Ausstellungsraum wurde. Seitdem trafen sie in öffentlichen Gesprächen mehrfach aufeinander. Für Obrists "The Interview Project" (2010) antwortete Feldmann jeweils mit Bildern auf die schriftlichen Interviewfragen.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Hans-Peter Feldmann im Gespräch mit Hans Ulrich Obrist
Montag, 22. Oktober 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Hans-Peter Feldmann lebt und arbeitet in Düsseldorf. Wichtigste Werke Feldmanns in der Sammlung des MMK sind die Serie Die Toten, 1967 – 1993 (1996 – 1998) und Das Kinderzimmer (2002).
Hans Ulrich Obrist ist Kurator und Kritiker. Seit 2006 Co-Direktor der Serpentine Gallery in London.
Mit dem Künstler und dem Kurator treffen beim nächsten MMK Talk zwei alte Bekannte aufeinander. Feldmann und Obrist arbeiteten bereits 1991 im Rahmen der ersten von Obrist kuratierten Ausstellung "The Kitchen Show" zusammen, bei der die Küche des Kurators in St. Gallen zum Ausstellungsraum wurde. Seitdem trafen sie in öffentlichen Gesprächen mehrfach aufeinander. Für Obrists "The Interview Project" (2010) antwortete Feldmann jeweils mit Bildern auf die schriftlichen Interviewfragen.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Mittwoch, 26. September 2012
Navigations
We cordially invite you to an afternoon symposium (in English)
Saturday, Sept. 29, 2012
4 pm, Robin Mackay
- Speculative Realism / Urbanomic
5 pm, Jan Verwoert
- “How Do I Know That What I Saw Last Night Was Real and Not Just Fantasy?”
Jol Thomson has invited guests Robin Mackay and Jan Verwoert to give presentations in the form of a symposium. The artist, instead of presenting his own object-oriented art works, offers the possibility of self-education and an investigation into the system of references that make up any (art) practice. These critically engaging lectures echo motives, which can be found throughout projects of the festival as a whole.
This project began from considering an art practice as a necessarily historical engagement with the past: "Art as citation". Jol Thomson summons and quotes the guest speakers, hosting an elaboration of the term ‘’artistic research’’ in order to define possible works from a possible future. Following this protracted inversion of time, he is interested in an approach that makes the future and past collide as a medium in the present, manifesting the referential as a “living” citation that is summoned from mutual directions in time. It is both the person speaking and the shadow of the person speaking that also defines the historical person from tomorrow.
Lecture at 4 pm,
Robin Mackay is a philosopher and director of UK publishing and arts organization Urbanomic, which promotes research activities addressing issues in philosophy and science and their correlation to contemporary art practice - it aims to engender interdisciplinary thinking and production. Robin Mackay will present and discuss his work as a publisher, curator and philosopher in the broad and intriguing field of interdisciplinary investigation tht is speculative realisms and geo-philosophy.
Lecture at 5 pm
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. He is a contributing editor of frieze magazine, his writing has appeared in different journals, anthologies and monographs. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006 and the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010. His talk is, "On the vivid yet unverifiable reality of feelings, memories, inspirations, and other things that go bump in the night".
Navigations
Symposium (in English)
Hauptgebäude, Hörsaal A
Uni. Campus Bockenheim
Saturday, Sept. 29, 2012
4 pm, Robin Mackay
- Speculative Realism / Urbanomic
5 pm, Jan Verwoert
- “How Do I Know That What I Saw Last Night Was Real and Not Just Fantasy?”
Jol Thomson has invited guests Robin Mackay and Jan Verwoert to give presentations in the form of a symposium. The artist, instead of presenting his own object-oriented art works, offers the possibility of self-education and an investigation into the system of references that make up any (art) practice. These critically engaging lectures echo motives, which can be found throughout projects of the festival as a whole.
This project began from considering an art practice as a necessarily historical engagement with the past: "Art as citation". Jol Thomson summons and quotes the guest speakers, hosting an elaboration of the term ‘’artistic research’’ in order to define possible works from a possible future. Following this protracted inversion of time, he is interested in an approach that makes the future and past collide as a medium in the present, manifesting the referential as a “living” citation that is summoned from mutual directions in time. It is both the person speaking and the shadow of the person speaking that also defines the historical person from tomorrow.
Lecture at 4 pm,
Robin Mackay is a philosopher and director of UK publishing and arts organization Urbanomic, which promotes research activities addressing issues in philosophy and science and their correlation to contemporary art practice - it aims to engender interdisciplinary thinking and production. Robin Mackay will present and discuss his work as a publisher, curator and philosopher in the broad and intriguing field of interdisciplinary investigation tht is speculative realisms and geo-philosophy.
Lecture at 5 pm
Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. He is a contributing editor of frieze magazine, his writing has appeared in different journals, anthologies and monographs. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006 and the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010. His talk is, "On the vivid yet unverifiable reality of feelings, memories, inspirations, and other things that go bump in the night".
Navigations
Symposium (in English)
Hauptgebäude, Hörsaal A
Uni. Campus Bockenheim
Donnerstag, 2. August 2012
Das Festival der jungen Talente!
27. – 30. September 2012, Eröffnung: 27. September, 19 Uhr, Campus Bockenheim der Goethe-Universität und Senckenberg Naturmuseum, Frankfurt am Main
www.festivaljungertalente.de
www.festivaljungertalente.de
Mit Arbeiten von María Fernández-Aragón, Tilmann Aumüller, Bianca Baldi, Mathias Bär, Sulamith Bereiter, Philipp Bergmann, Elisa Caldana, Lena Ditlmann, Gal Fefferman, Timothy Furey, Gregor Glogowski, Benedikt Grubel, Seung Hee, Vytautas Jurevicius, Theresa Kampmeier, Arne Salasse, Margarethe Kollmer, Nadine Eleni Kolodziey, Lutz Krietenbrink, Tom Król, Tonio Kröner, Philipp Krüger, Veit Laurent Kurz, Melanie Matthieu, Carolin Millner, Robert Müller, Jonathan Penca, Manuel Roßner, Rushy Rush, Anja Sauer, Daniel Schauf, Ruth Schmidt, Matthias Schönijahn, Jan Philipp Stange, Nele Stuhler, Martin Tanšek, Jol Thomson u.a.
Das diesjährige Festival der jungen Talente! baut erstmalig auf ein Seminar der Kuratorin Anja Nathan-Dorn mit den teilnehmenden Studierenden auf. Die jungen Künstler_innen und die ehemalige Co-Direktorin des Kölnischen Kunstvereins, bekannt für ihr innovatives Ausstellungs- und Veranstaltungsprogramm, sowie zahlreiche interdisziplinäre Kooperationen, haben so gemeinsam das Festival unter dem Titel Simulation, Adaption, Illusion und Pose inhaltlich vorbereitet.
Diese sind Begriffe, die mit einem Übermaß an Inszenierung, Künstlichkeit und Realitätsfremdheit in Verbindung gebracht werden, die aber Alltag und Politik in einer mediatisierten Welt längst zu bestimmen scheinen. Es soll das Verhältnis hinterfragt werden, in welchem eine derartige Leistungsschau junger Kunst zu einer Gesellschaft steht, die von jedem/jeder einzelnen tagtäglich bestmögliche Performance, Kreativität und Selbstdarstellung verlangt.
Studierende der Bildenden Kunst, des Kommunikationsdesigns, des Tanzes, der Komposition, der Regie, der Theaterwissenschaft und der Dramaturgie präsentieren über zwanzig Performances, Installationen, Malerei und Fotografie in den Foyers des ehemaligen Hauptgebäudes der Goethe-Universität auf dem Campus Bockenheim (Jügelhaus), das Hörsaalgebäude und der Labsaal (die ehemalige Mensa der Universität) sowie ein Ausstellungsraum des Senckenberg Naturmuseums Frankfurt am Main.
Montag, 9. Juli 2012
Nora Schultz
Performance
Nora Schultz
Freitag, 13. Juli 2012, 19 Uhr, Portikus
Nora Schultz’s show is the first solo exhibition to occupy the lower as well as the temporary upper floor at Portikus. She uses the duality within the space to develop parallel production cycles composed of sculptural sound works and printing installations that repeatedly intersect over the course of the show. Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible.
For the second time since the opening of the exhibition, Nora Schultz will present a performance. She activates the "Portikus Printing Plant" in order to produce additional prints to be displayed in a new exhibition layout. The exhibition continues to change and evolve during its course, which further underlines the artist's interest in visualizing production processes.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Freitag, 13. Juli 2012, 19 Uhr, Portikus
Nora Schultz’s show is the first solo exhibition to occupy the lower as well as the temporary upper floor at Portikus. She uses the duality within the space to develop parallel production cycles composed of sculptural sound works and printing installations that repeatedly intersect over the course of the show. Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible.
For the second time since the opening of the exhibition, Nora Schultz will present a performance. She activates the "Portikus Printing Plant" in order to produce additional prints to be displayed in a new exhibition layout. The exhibition continues to change and evolve during its course, which further underlines the artist's interest in visualizing production processes.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Alejandro Zaera-Polo
Dean´s Honorary Lecture
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Karl Holmqvist
Vortrag
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Dienstag, 3. Juli 2012
Renzo Martens
Vortrag
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Helmut Krausser
Vortrag
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Simon Denny: Information Design Attempts
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Scroll down for German version!
Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
/
Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Scroll down for German version!
Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
/
Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Freitag, 15. Juni 2012
Peter Cook
Vortrag
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Marc Camille Chaimowicz
Vortrag
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
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