Herzliche Einladung zu den Veranstaltungen der Städelschule!

Sabeth Buchmann
Thinking against the thinking.
Production, Technology, Subjectivity

Tuesday, 20th January, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

Based on works by Sol LeWitt, Hélio Oiticica and Yvonne Rainer as well as some central shows from the 1960/70s dealing with "Art and technology", Sabeth Buchmann turns attention from "Thinking against the thinking" to the various interrelations between social production codes and artistic works. This includes the American choreographer, dancer and filmmaker Yvonne Rainer and the relativization of author and creation based catagories while referring to industrial catagories of production that address aspects of motion, psyche, emotions, sexuality and intersubjective relations.

Investigating exemplary choreographies and films, Buchmann shows that the (self-) interpretation of the performer is always to be understood in direct confrontation with the technological and media constructions of physical presence which have been vital for (post-) avantgarde concepts. In this connection she considers the current receptions of the 60/70s post-aventgarde, which identify a parallel-development to the postfordistic and biopolitical organisation forms of social works.

Sabeth Buchmann is an art historian and art critic who teaches as a Professor for Modern and Postmodern Art at the Academy of Fine Arts Vienna. She is a regular contributor to art magazines such as "Texte zur Kunst" and a co-editor of 'Polypen' - a publication series on art criticism and political theory.

Jan Verwoert
Why are conceptual artists painting again?
Because they think it’s a good idea.

Wednesday, 21st January, 19h, Aula

Die Veranstaltung findet in englischer Sprache statt.

How have the basic conditions of art practice changed and what words and models could we use to open up the potentials at the heart of these developments in art after Conceptualism? The dominant models no longer satisfy. It makes no sense to melodramatically invoke the “end of painting” (or any other medium-specific practice for that part) when the continous emergence of fascinating work obviously proves apocalyptic endgame scenarios wrong. Yet, to pretend it were possible to go back to business as usual seems equally impossible because the radical expansion of artistic possibilities through the landslide changes of the 1960s leave medium-specific practices in the odd position of being one among many modes of artistic articulation, with no preset justification. How can we describe then what medium-specific practices like painting or sculpture can do today?

Unfortunately, a certain understanding of conceptualism has had incredibly stifling effects on how people approach their practice, namely the idea that to have a concept in art means to know exactly why you do what you do - before you ever even do it. This assumption has effectively increased the pressure on artists to occupy the genius-like position of a strategist who would clearly know the rules of how to do the right thing, the legitimate thing. How could we invent a language that would describe the potentials of contemporary practice, acknowledge a sense of crisis and doubt, yet break the spell of the senseless paranoia over legitimation - and instead help to transform critical art practice into a truly gay science based on a shared sense of appreciation and irreverence?

Jan Verwoert is a critic, who lives in Berlin, teaches art at the Piet Zwart Institute in Rotterdam, works as a contributing editor to frieze magazine, writes for different publications and co-curated the city-wide exhibition Art Sheffield 08, Yes, No, Other Options in Sheffield in 2008.

The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.

Charles Walker
Get Real!
Thursday, 22nd January, 19h, Aula

Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.

Canadian-born Charles Walker returns to Städelschule to give a share his vast experience in directing and realizing projects ranging from small pavilions to large urban masterplans. Currently working for Zaha Hadid Architects in London,Walker has previously practiced design-based engineering with Atelier One as well as Ove Arup & Partners. The latter firm he joined in 1998 and in 2000, he co-founded its Advanced Geometry Unit with Cecil Balmond.
Leading this unit, Walker was projector director and masterplanner for the Battersea Power Station Project, but - not the least in light of this lecture series, he was responsible for the Serpentine Gallery Summer Pavilions, including Daniel Libeskind's, Toyo Ito's and Oscar Niemeyer's structures.Educated an architect in Canada, Charles Walker went on to undertake post-graduate structural engineering studies at the Imperial College of Science Technology and Medicine in 1992. Since 2003, he has been teaching an Intermediate School Unit at the Architectural Association in London.