Vortrag
Vasif Kortun: Instituting Now [in istanbul]
Dienstag, 30. November 2010, 19 Uhr, Aula
Vasif Kortun is a writer, curator and teacher in the field of contemporary art. He is the founding director of Platform Garanti CAC a non-profit contemporary art institution with an extensive library, documentation center, artist archives, exhibition space and an international residency program for artists, critics and curators. He also founded Proje4L, Istanbul Museum of Contemporary Art [2001- 2003], where he curated seminal exhibitions of artist from Turkey. The first director of the Museum of the Center for Curatorial Studies at Bard College [1994 and 1997], he organized the first U.S. museum exhibitions of artists like Kara Walker, Nedko Solakov and Boris Mikhailov. Vasif Kortun was the chief curator of the 1992, and co-curator of 2005 Istanbul Biennials; a co-curator of Sao Paolo [1998], Second Ceramics Biennial [Albisola, 2003], Taipei Biennial in [2008], He is the curator of the UAE Pavilion, Venice Bienial [2011]. He has curated the Turkish pavilions for 1994 and 1998 Sao Paolo and 2007 Venice Biennials. He is a board member of the Foundation for Arts Initiatives, and sits on the advisory committees of the Periferic Biennial; Artists Pension Trust Dubai, The Gyeonggi Creation Center, Korea, and Broadsheet Magazine Australia.
The lecture will revolve around questions of attempting to institute specificity with a focus on SALT a new program to open in Istanbul in the Spring of 2011.
Montag, 15. November 2010
Samstag, 13. November 2010
DJ SPOOKY
Vortrag
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula
In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.
Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.
Die Veranstaltung findet in englischer Sprache statt.
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula
In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.
Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 9. November 2010
MARKUS MIESSEN
Vortrag
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula
Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.
Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula
Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.
Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.
Montag, 8. November 2010
THOMAS KEENAN
Vortrag
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula
Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?
Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula
Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?
Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.
EYAL WEIZMAN
Vortrag
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Dienstag, 2. November 2010
WILLEM DE ROOIJ
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula
Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de
Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.
Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula
Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de
Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.
Montag, 1. November 2010
ANSELM HAVERKAMP
Festvortrag im Rahmen der Auftaktveranstaltung des Masterstudiengangs Curatorial and Critical Studies
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt
Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.
Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt
Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.
Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt
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