Vortrag
Peter Osborne: Art of the Contemporary: From Memory to History
10. Juni 2014, 19 Uhr, Aula
What formal conditions does the idea of an ‘art of the contemporary’, as a historical practice, critically impose on art today? This lecture will address this question via the relationship between narrative, image and information at the point of overlap between fictional and historical discourse. It will take as its point of reference some recent film works by Akram Zaatari.
Peter Osborne is Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy (CRMEP), Kingston University London, and an editor of the British journal Radical Philosophy.
His books include: The Politics of Time: Modernity and Avant-Garde (1995; 2011), Philosophy in Cultural Theory (2000), Conceptual Art (2002), Marx (2005), El arte más allá de la estética: Ensayos filosóficos sobre el arte contemporáneo (CENDEAC, Murcia, 2010), and most recently, Anywhere or Not at All: Philosophy of Contemporary Art (Verso, 2013).
Catalogue essays include contributions to Manifesta 5, Tate Modern, Biennale of Sydney, Walker Art Center Minneapolis, Office of Contemporary Art Norway, National Museum of Art, Architecture and Design Oslo, CGAC in Santiago de Compostela, and Museo de Arte Contemporáneo de Castilla y León.
Other recent publications include: two essays in Gerhard Richter: Fotographie und Malerei – Malerei als Fotographie: Acht Texte zu Gerhard Richters Medienstrategie: Schriften des Gerhard Richter Archive Dresden, Band 8, Walter König, Cologne, 2011; The State of Things (co-ed. with Marta Kuzma and Pablo Lafuentes), Walter Koenig/OCA, Cologne/Oslo, 2012 – lectures from the Norwegian representation at the Venice Biennale 2011, of which he was a co-curator – and Spheres of Action: Art and Politics (co-ed. with Éric Alliez), Tate Publishing, London, 2013.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 29. April 2014
Hu Fang: Dear Navigator and the Notes from the Glass Room
Buchvorstellung und Gespräch
Hu Fang: Dear Navigator, and the Notes from the Glass Room
Freitag, 13. Juni 2014, 19 Uhr, Aula
Dear Navigator,
Everything in this isolation module simulates an actual space capsule; the only thing that could not be simulated is weightlessness, which is just about as disappointing as a bride not showing up for her thoroughly planned luxury wedding.
If we want to reinvent ourselves in this world, what we really want is to cast off gravity; it is only when we float through the air that all daydreams really begin; and now, walking through this wooden cabin in summer clothes, it's like we're at a resort.
—Vladimir Xie, March 7
Dear Navigator,
My parents believed that martyr's blood could be exchanged for today's blissful living, and their energy shaped the future and afterlife for which they hoped, but, beyond the scope of renewing the energy that they invested, we have already been dispersed from the powers of the collective, atomized into scattered and aimless particles, returned to chaos.
—Vladimir Xie, June 7
Dear Navigator,
Once, I was able to capture the beauty of the light switching from afternoon to evening, the clouds suspended against the fading sky as it turned a deep blue, the street lights flickering on one after the other, having the effect of desk lamps–both condensing space, and yet infinitely expanding it into the gradually shifting colors of the skyline.
Sitting on the bus, a small girl who was sunk into the backrest of her seat watched her reflection in the window. And after a day’s work, even more people were drifting to sleep in the bumper-to-bumper congestion, the city emerging from evening like a submarine surfacing from the ocean depths.
—Vladimir Xie, September 22
Dear Navigator,
If everything that has ever happened to humanity cannot be echoed in this universe,then in the end to where has the vital energy emitted by the human body been dispersed?
—Vladimir Xie, December 6
Hu Fang is a fiction writer, art critic and curator who lives and works in Guangzhou and Beijing, is the co-founder and artistic director of Vitamin Creative Space in Guangzhou and the Pavilion in Beijing, and has been involved in various international projects including documenta 12 magazines as coordinating editor and Yokohama Triennale 2008 as co-curator.
Die Veranstaltung findet in englischer Sprache statt.
Hu Fang: Dear Navigator, and the Notes from the Glass Room
Freitag, 13. Juni 2014, 19 Uhr, Aula
Dear Navigator,
Everything in this isolation module simulates an actual space capsule; the only thing that could not be simulated is weightlessness, which is just about as disappointing as a bride not showing up for her thoroughly planned luxury wedding.
If we want to reinvent ourselves in this world, what we really want is to cast off gravity; it is only when we float through the air that all daydreams really begin; and now, walking through this wooden cabin in summer clothes, it's like we're at a resort.
—Vladimir Xie, March 7
Dear Navigator,
My parents believed that martyr's blood could be exchanged for today's blissful living, and their energy shaped the future and afterlife for which they hoped, but, beyond the scope of renewing the energy that they invested, we have already been dispersed from the powers of the collective, atomized into scattered and aimless particles, returned to chaos.
—Vladimir Xie, June 7
Dear Navigator,
Once, I was able to capture the beauty of the light switching from afternoon to evening, the clouds suspended against the fading sky as it turned a deep blue, the street lights flickering on one after the other, having the effect of desk lamps–both condensing space, and yet infinitely expanding it into the gradually shifting colors of the skyline.
Sitting on the bus, a small girl who was sunk into the backrest of her seat watched her reflection in the window. And after a day’s work, even more people were drifting to sleep in the bumper-to-bumper congestion, the city emerging from evening like a submarine surfacing from the ocean depths.
—Vladimir Xie, September 22
Dear Navigator,
If everything that has ever happened to humanity cannot be echoed in this universe,then in the end to where has the vital energy emitted by the human body been dispersed?
—Vladimir Xie, December 6
Hu Fang is a fiction writer, art critic and curator who lives and works in Guangzhou and Beijing, is the co-founder and artistic director of Vitamin Creative Space in Guangzhou and the Pavilion in Beijing, and has been involved in various international projects including documenta 12 magazines as coordinating editor and Yokohama Triennale 2008 as co-curator.
Die Veranstaltung findet in englischer Sprache statt.
Chris Dercon: Institutionalizing the Global View
Vortrag Masterstudiengang Kuratieren und Kritik
Chris Dercon: Institutionalizing the Global View
Donnerstag, 12. Juni 2014, 19 Uhr, Aula
Chris Dercon is an art historian, a documentary filmmaker and cultural producer. In April 2011 he was appointed Director of Tate Modern in London. He was previously Director of Haus der Kunst in Munich, the Museum Boijmans Van Beuningen in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as Program Director of PS1 Museum in New York. He curated and co-curated, amongst others, exhibitions of André Cadere, Dan Graham, Konstantin Grcic, Hans Haacke, Carlo Mollino, Helio Oiticica, Paul Thek, Ai Weiwei and Franz West. He has published, contributed to and edited many catalogues, art publications, lectures and interviews worldwide. His current interest lies particularly with old and new textiles. He has made extensive cultural research and co operations with cultural producers in Brazil as of (1988), North Africa – Levant as of (1992), Japan as of (1993), China as of (1999), India as of (2005), and most recently in West Africa, The Gulf and Saudi Arabia.
Der Vortrag findet in englischer Sprache statt.
Chris Dercon: Institutionalizing the Global View
Donnerstag, 12. Juni 2014, 19 Uhr, Aula
Chris Dercon is an art historian, a documentary filmmaker and cultural producer. In April 2011 he was appointed Director of Tate Modern in London. He was previously Director of Haus der Kunst in Munich, the Museum Boijmans Van Beuningen in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as Program Director of PS1 Museum in New York. He curated and co-curated, amongst others, exhibitions of André Cadere, Dan Graham, Konstantin Grcic, Hans Haacke, Carlo Mollino, Helio Oiticica, Paul Thek, Ai Weiwei and Franz West. He has published, contributed to and edited many catalogues, art publications, lectures and interviews worldwide. His current interest lies particularly with old and new textiles. He has made extensive cultural research and co operations with cultural producers in Brazil as of (1988), North Africa – Levant as of (1992), Japan as of (1993), China as of (1999), India as of (2005), and most recently in West Africa, The Gulf and Saudi Arabia.
Der Vortrag findet in englischer Sprache statt.
Neal White: Art as Event; John Latham and Flat Time Theory.
Vortrag
Neal White: Art as Event; John Latham and Flat Time Theory.
6. Mai 2014, 19 Uhr, Aula
In this talk, Neal White will outline how the late British conceptual artist John Latham (1922-2006) viewed his art in relation to concepts of time, which were in turn applied to the incidental practice of the Artist Placement Group (APG - 1966-89). As White will discuss, to Latham’s frustration, many of the ideas that underline critical processes at play in his work and his concepts were never fully explored or understood beyond this context. In this talk, White discusses the issues that continue to haunt his ideas as well as the role that Latham played personally in the development of Whites own work, in which art can be seen as an epistemic thing or event. In this respect, the work of the individual artists is linked to collaborative, collective and critical practices; and in particular a range of instituent forms which are deconstructing territories and borders associated with knowledge and art.
Neal White is an artist who leads the contemporary art and research group, the Office of Experiments. In this capacity, he has undertaken commissions in Washington DC and Germany, research at the Centre for Land Use Interpretation, USA and with Arts Catalyst, UK. In addition, he has collaborated with artists and writers, academics and architects, from N55 (DK) to John Latham (UK). He recently co-curated Dark Places at John Hansard Gallery (UK) and has exhibited Internationally at Apexart - New York, Chelsea Space - London (2010), Casino Foundation for Contemporary Art - Luxembourg (2008), Barbican Gallery - London (2005), Natural History Museum, - London (2003) and Moderna Museet - Stockholm (1998). He was a founder of art and technology group Soda (1997-02), and a Director of O+I, from 2007-9 (formerly Artist Placement Group). He is currently Professor of Media Arts Practice, The Media School, Bournemouth University.
Following the lecture, there will be a "Skoob Performance" happening in the courtyard, an experiment in relation to the exhibition God is Great (10-19) – John Latham and Neal White at Portikus in Frankfurt. The performances, which were originally titled Skoob Tower Ceremonies and performed by John Latham, either in person or under instruction, were slow burnings of book towers constructed with volumes of the Encyclopedia Britannica, which Latham initiated throughout his life at different intervals and in different sites, from the 1960s onwards.
Der Vortrag findet in englischer Sprache statt.
Neal White: Art as Event; John Latham and Flat Time Theory.
6. Mai 2014, 19 Uhr, Aula
In this talk, Neal White will outline how the late British conceptual artist John Latham (1922-2006) viewed his art in relation to concepts of time, which were in turn applied to the incidental practice of the Artist Placement Group (APG - 1966-89). As White will discuss, to Latham’s frustration, many of the ideas that underline critical processes at play in his work and his concepts were never fully explored or understood beyond this context. In this talk, White discusses the issues that continue to haunt his ideas as well as the role that Latham played personally in the development of Whites own work, in which art can be seen as an epistemic thing or event. In this respect, the work of the individual artists is linked to collaborative, collective and critical practices; and in particular a range of instituent forms which are deconstructing territories and borders associated with knowledge and art.
Neal White is an artist who leads the contemporary art and research group, the Office of Experiments. In this capacity, he has undertaken commissions in Washington DC and Germany, research at the Centre for Land Use Interpretation, USA and with Arts Catalyst, UK. In addition, he has collaborated with artists and writers, academics and architects, from N55 (DK) to John Latham (UK). He recently co-curated Dark Places at John Hansard Gallery (UK) and has exhibited Internationally at Apexart - New York, Chelsea Space - London (2010), Casino Foundation for Contemporary Art - Luxembourg (2008), Barbican Gallery - London (2005), Natural History Museum, - London (2003) and Moderna Museet - Stockholm (1998). He was a founder of art and technology group Soda (1997-02), and a Director of O+I, from 2007-9 (formerly Artist Placement Group). He is currently Professor of Media Arts Practice, The Media School, Bournemouth University.
Following the lecture, there will be a "Skoob Performance" happening in the courtyard, an experiment in relation to the exhibition God is Great (10-19) – John Latham and Neal White at Portikus in Frankfurt. The performances, which were originally titled Skoob Tower Ceremonies and performed by John Latham, either in person or under instruction, were slow burnings of book towers constructed with volumes of the Encyclopedia Britannica, which Latham initiated throughout his life at different intervals and in different sites, from the 1960s onwards.
Der Vortrag findet in englischer Sprache statt.
Montag, 28. April 2014
Renzo Martens: More news on the Institute for Human Activities
Vortrag
Renzo Martens: More news on the Institute for Human Activities
Mittwoch, 30. April 2014, 19 Uhr, Aula
Renzo Martens will talk on recent developments at the Institute for Human Activities, an organization dedicated to making critical art profitable for the people that inhabit the Congo, rather than people in New York or Berlin. The project started on a former Unilever plantation 800 miles north of Kinshasa on the Congo River, and is currently re-locating, after a series of dramatic events.
Renzo Martens is a Dutch artist and filmmaker and currently serves as director of the Institute. In his first film, Episode 1, Renzo travels to Chechnya to adopt a rarely defined role in contemporary war: that of its spectator. Episode 3, also known as Enjoy Poverty, is a meditation on the political claims of contemporary art and the result of Renzo’s two-year journey in the Congo. In the film, aided by a giant, portable neon sign reading “Enjoy Poverty,” he sets up an emancipation program to encourage local communities to think of their poverty as a resource.
His films have been shown at the 6th Berlin Biennial, Tate Modern in London, Centre Pompidou in Paris, Van Abbe Museum Eindhoven, Kunsthaus Graz, Stedelijk Museum Amsterdam, as well as at numerous film festivals and on public broadcast channels. He co-founded the Institute for Human Activities in 2010 with legal structures in Amsterdam, Brussels and Kinshasa.
Renzo Martens: More news on the Institute for Human Activities
Mittwoch, 30. April 2014, 19 Uhr, Aula
Renzo Martens will talk on recent developments at the Institute for Human Activities, an organization dedicated to making critical art profitable for the people that inhabit the Congo, rather than people in New York or Berlin. The project started on a former Unilever plantation 800 miles north of Kinshasa on the Congo River, and is currently re-locating, after a series of dramatic events.
Renzo Martens is a Dutch artist and filmmaker and currently serves as director of the Institute. In his first film, Episode 1, Renzo travels to Chechnya to adopt a rarely defined role in contemporary war: that of its spectator. Episode 3, also known as Enjoy Poverty, is a meditation on the political claims of contemporary art and the result of Renzo’s two-year journey in the Congo. In the film, aided by a giant, portable neon sign reading “Enjoy Poverty,” he sets up an emancipation program to encourage local communities to think of their poverty as a resource.
His films have been shown at the 6th Berlin Biennial, Tate Modern in London, Centre Pompidou in Paris, Van Abbe Museum Eindhoven, Kunsthaus Graz, Stedelijk Museum Amsterdam, as well as at numerous film festivals and on public broadcast channels. He co-founded the Institute for Human Activities in 2010 with legal structures in Amsterdam, Brussels and Kinshasa.
Yael Bartana: Creating Utopian Moments
Vortrag
Yael Bartana: Creating Utopian Moments
Dienstag, 29. April 2014, 19 Uhr, Aula
The talk will focus on political imagination as a tool to create utopian moments. Imagination interacting with political reality provides a possibility to reject conventional assumptions about the world. Bartana will show and discuss clips from several projects produced between 2007 and 2014.
Yael Bartana *1970 in Kfar-Yehezkel, Israel is a video artist who explores the imagery of cultural identity. Her early video work, both documentary and staged, explores social phenomena that illuminate the complexity of contemporary life, primarily within her native country of Israel. These early works document collective rituals, ceremonies and social diversions in which aesthetic interventions, including soundtracks, the slowing of the image and the use of specific camera perspectives, played a role. In recent years, she has more and more staged her films, and proposed utopic narratives for new chapters of history.
She studied at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York and the Rijksakademie in Amsterdam. Her solo exhibitions include the Moderna Museet in Malmö, the Museum of Modern Art in Warsaw, PS1 in New York, the Center for Contemporary Art in Tel Aviv, the Kunstverein in Hamburg and the Van Abbemuseum in Eindhoven. She participated in the Sao Paolo Biennial (2010 and 2006), Documenta 12 in Kassel and the Istanbul Biennial. In 2011, Yael Bartana represented Poland for the 54th edition of the Venice Biennial.
Yael Bartana: Creating Utopian Moments
Dienstag, 29. April 2014, 19 Uhr, Aula
The talk will focus on political imagination as a tool to create utopian moments. Imagination interacting with political reality provides a possibility to reject conventional assumptions about the world. Bartana will show and discuss clips from several projects produced between 2007 and 2014.
Yael Bartana *1970 in Kfar-Yehezkel, Israel is a video artist who explores the imagery of cultural identity. Her early video work, both documentary and staged, explores social phenomena that illuminate the complexity of contemporary life, primarily within her native country of Israel. These early works document collective rituals, ceremonies and social diversions in which aesthetic interventions, including soundtracks, the slowing of the image and the use of specific camera perspectives, played a role. In recent years, she has more and more staged her films, and proposed utopic narratives for new chapters of history.
She studied at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York and the Rijksakademie in Amsterdam. Her solo exhibitions include the Moderna Museet in Malmö, the Museum of Modern Art in Warsaw, PS1 in New York, the Center for Contemporary Art in Tel Aviv, the Kunstverein in Hamburg and the Van Abbemuseum in Eindhoven. She participated in the Sao Paolo Biennial (2010 and 2006), Documenta 12 in Kassel and the Istanbul Biennial. In 2011, Yael Bartana represented Poland for the 54th edition of the Venice Biennial.
Dienstag, 22. April 2014
Virginija Januškevičiūtė: Swim
Vortrag
Virginija Januškevičiūtė: Swim
Mittwoch, 23. April 2014, 19 Uhr, Aula
The talk will focus on some aspects of the practice of Darius Žiūra, an artist based in Vilnius whose work primarily consists of what he calls ‘visuals’ and whose exhibition SWIM has recently opened at the Contemporary Art Centre in Vilnius. The four letters in the exhibition title is an acronym, sometimes used in online forums by writers trying to avoid incriminating themselves or asking questions about some illegal activity or its consequences. In those circumstances the acronym is usually deciphered as ‘Someone Who Isn’t Me’.
Virginija Januškevičiūtė is a curator at the Contemporary Art Centre (CAC) in Vilnius. Her most recent projects include solo exhibitions by Darius Žiūra (SWIM, curated with Anders Kreuger) and Gintaras Didžiapetris (Color and Device). In 2008 with Valentinas Klimašauskas she put together For the First and the Second Time, a retroactive project that included artworks remaining at the premises since previous exhibitions. In 2011 she curated a one day group show In Between the Acts for Survival Kit festival in Riga, which was loosely based on the idea of visiting theatres to see not the plays but their intermissions. In 2012 she put together, among others, The Nineties for „Kim?“ art centre in Riga – a group show set alongside a 40 page complaint by philosopher Arūnas Sverdiolas. In 2013 the CAC appointed her one of the curators of the 12th Baltic Triennial scheduled for 2015.
Der Vortrag findet in englischer Sprache statt.
Virginija Januškevičiūtė: Swim
Mittwoch, 23. April 2014, 19 Uhr, Aula
The talk will focus on some aspects of the practice of Darius Žiūra, an artist based in Vilnius whose work primarily consists of what he calls ‘visuals’ and whose exhibition SWIM has recently opened at the Contemporary Art Centre in Vilnius. The four letters in the exhibition title is an acronym, sometimes used in online forums by writers trying to avoid incriminating themselves or asking questions about some illegal activity or its consequences. In those circumstances the acronym is usually deciphered as ‘Someone Who Isn’t Me’.
Virginija Januškevičiūtė is a curator at the Contemporary Art Centre (CAC) in Vilnius. Her most recent projects include solo exhibitions by Darius Žiūra (SWIM, curated with Anders Kreuger) and Gintaras Didžiapetris (Color and Device). In 2008 with Valentinas Klimašauskas she put together For the First and the Second Time, a retroactive project that included artworks remaining at the premises since previous exhibitions. In 2011 she curated a one day group show In Between the Acts for Survival Kit festival in Riga, which was loosely based on the idea of visiting theatres to see not the plays but their intermissions. In 2012 she put together, among others, The Nineties for „Kim?“ art centre in Riga – a group show set alongside a 40 page complaint by philosopher Arūnas Sverdiolas. In 2013 the CAC appointed her one of the curators of the 12th Baltic Triennial scheduled for 2015.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 3. April 2014
Michael Sanchez
Vortrag
Michael Sanchez: The Seasons in Retrospect
Dienstag, 8. April 2014, 19 Uhr, Aula
Michael Sanchez’ lecture "The Seasons in Retrospect," extends certain themes of his essays from the past few years, using television, fashion and contemporary art as case studies for examining the connections between the infrastructure of post-seasonal distribution and models of risk management.
Michael Sanchez is a PhD candidate in the Department of Art History and Archaeology at Columbia University New York. He has lectured at numerous institutions, including Princeton University, Boston University, Städelschule in Frankfurt, The Art Institute of Chicago, The Frick Collection and Artists Space. His writing on contemporary art and media has appeared in Artforum and Texte zur Kunst, as well as anthologies and exhibition catalogues published by Sternberg Press, Wiener Secession, CAPC Bordeaux, and Arnolfini Gallery Bristol.
He is currently at work on his dissertation, which draws on original archival material to trace some of the key elements of the contemporary art dispositif back to the Rhineland circa 1970. His project articulates the interconnections between four apparently disparate phenomena that emerged at this moment: jet infrastructure and the circulation of artists (Konrad Fischer); discursively-oriented post-studio pedagogical techniques (Joseph Beuys); new market structures such as the art fair and econometric analysis of art distribution (Willi Bongard); and curation as cultural technique in the practice of independent contemporary art curators.
Der Vortrag findet in englischer Sprache statt.
Michael Sanchez: The Seasons in Retrospect
Dienstag, 8. April 2014, 19 Uhr, Aula
Michael Sanchez’ lecture "The Seasons in Retrospect," extends certain themes of his essays from the past few years, using television, fashion and contemporary art as case studies for examining the connections between the infrastructure of post-seasonal distribution and models of risk management.
Michael Sanchez is a PhD candidate in the Department of Art History and Archaeology at Columbia University New York. He has lectured at numerous institutions, including Princeton University, Boston University, Städelschule in Frankfurt, The Art Institute of Chicago, The Frick Collection and Artists Space. His writing on contemporary art and media has appeared in Artforum and Texte zur Kunst, as well as anthologies and exhibition catalogues published by Sternberg Press, Wiener Secession, CAPC Bordeaux, and Arnolfini Gallery Bristol.
He is currently at work on his dissertation, which draws on original archival material to trace some of the key elements of the contemporary art dispositif back to the Rhineland circa 1970. His project articulates the interconnections between four apparently disparate phenomena that emerged at this moment: jet infrastructure and the circulation of artists (Konrad Fischer); discursively-oriented post-studio pedagogical techniques (Joseph Beuys); new market structures such as the art fair and econometric analysis of art distribution (Willi Bongard); and curation as cultural technique in the practice of independent contemporary art curators.
Der Vortrag findet in englischer Sprache statt.
Ben van Berkel
Städelschule Architecture Class
SAC
presents
Ben van Berkel: Managing the Void
Donnerstag, 3. April, 19 Uhr , Aula
SAC Public Lecture Series Summer Semester 2014
SAC proudly presents Ben van Berkel, co-founder and principal architect at UNStudio in Amsterdam. Ben van Berkel’s talk in SAC’s public lecture series doubles as the keynote lecture in the Media Facades Summit 2014, which is offered in conjunction with the Light+Building Fair and Luminale 2014 programme.
Together with his partner, Caroline Bos, Ben van Berkel founded UNStudio in 1988. Over the years UNStudio has emerged as one of the leading architectural firms in the world. It has realised numerous seminal buildings, some of which also feature advanced media facades.
Currently Ben van Berkel’s UNStudio can look back at more than 80 realised projects while having more than 50 new projects in progress.
Die Veranstaltung findet in englischer Sprache statt.
SAC
presents
Ben van Berkel: Managing the Void
Donnerstag, 3. April, 19 Uhr , Aula
SAC Public Lecture Series Summer Semester 2014
SAC proudly presents Ben van Berkel, co-founder and principal architect at UNStudio in Amsterdam. Ben van Berkel’s talk in SAC’s public lecture series doubles as the keynote lecture in the Media Facades Summit 2014, which is offered in conjunction with the Light+Building Fair and Luminale 2014 programme.
Together with his partner, Caroline Bos, Ben van Berkel founded UNStudio in 1988. Over the years UNStudio has emerged as one of the leading architectural firms in the world. It has realised numerous seminal buildings, some of which also feature advanced media facades.
Currently Ben van Berkel’s UNStudio can look back at more than 80 realised projects while having more than 50 new projects in progress.
Die Veranstaltung findet in englischer Sprache statt.
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