Dienstag, 5. Dezember 2017
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Vortrag
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Donnerstag, 14. Februar 2017, 19 Uhr, Aula
In opposition to the arbitrary, which is the origin of every written and spoken language, I have placed the unspoken, the mystic. From dispair to ecstasy, that is what the mystic is about now. This is the all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analogue. The analogue versus the arbitrary. The analogue is ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness, transparency. The analogue plus the digital is what humans are about: perspective.
Anne-Mie van Kerckhoven (*1951, Antwerpen/BE) lives and works in Antwerpen.
Working across historical boundaries and artistic disciplines, Anne-Mie van Kerckhoven explores different ways of describing the world, which she locates between the antitheses of eros and ratio. In terms of content, this is linked on the one hand to concepts of the sexualized female body, and on the other to a technoid algorithmic logic; formally, this tension manifests itself in both computer-generated and hand-drawn images.
Der Vortrag findet in englischer Sprache statt.
Anne-Mie Van Kerckhoven: ‘Some Sort of Manifesto’, 2016-17
Donnerstag, 14. Februar 2017, 19 Uhr, Aula
In opposition to the arbitrary, which is the origin of every written and spoken language, I have placed the unspoken, the mystic. From dispair to ecstasy, that is what the mystic is about now. This is the all-devouring lust for life and love. Unification, not feeling separated from the rest. No ego, no boundaries. Creation becomes one with its creator. I call it the analogue. The analogue versus the arbitrary. The analogue is ritual, evil, mystery, desire, yearning, lust, while the digital is control, technology, sublimation, dependence, cleanliness, transparency. The analogue plus the digital is what humans are about: perspective.
Anne-Mie van Kerckhoven (*1951, Antwerpen/BE) lives and works in Antwerpen.
Working across historical boundaries and artistic disciplines, Anne-Mie van Kerckhoven explores different ways of describing the world, which she locates between the antitheses of eros and ratio. In terms of content, this is linked on the one hand to concepts of the sexualized female body, and on the other to a technoid algorithmic logic; formally, this tension manifests itself in both computer-generated and hand-drawn images.
Der Vortrag findet in englischer Sprache statt.
Portikus Eröffnung: Moyra Davey: Hell Notes
Portikus Eröffnung
09.12.2017–28.01.2018
Eröffnung / Opening: 08.12.2017, 19h
Deutsch: http://www.portikus.de/de/exhibitions/210_hell_notes
Portikus is pleased to announce the exhibition "Hell Notes" by Canadian artist Moyra Davey, her first institutional solo exhibition in Germany. Davey works as a photographer and author, and over the last several years has created work that combines the two fields. One must also consider her a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes and integrates writings into her works. In this sense, she equates taking photographs that capture her surroundings, with writing notes while reading. Since the late 1980s, Davey has created a number of photographic series dealing with everyday motifs in her environment. These include serial shots of New York City newsstands, empty whiskey bottles, scenes from cafés or libraries, shots of people on the subway, and ever-more reduced images of her apartment.
While Davey presented new photographic and film works at the recently ended documenta14 in Athens and Kassel, the exhibition at Portikus features an older work: the film after which the exhibition is named, "Hell Notes" (1990). Shown only once in 1991 at a screening at the Collective for Living Cinema in New York, the film is complemented by the photographic series "Copperheads" (1990-ongoing).
The "Copperheads" are photographic reproductions of Abraham Lincoln’s (1809-1865) profile on the American one-cent coin. These are macro photos; very enlarged depictions of the former American president on the lowest-value coin in the US. This ongoing work emerged in a time of political upheaval, marked by the American financial crisis of the 1980s, as well as the fall of the Berlin Wall and the concomitant media-celebrated end of communism. Minted on a coin, the face of Abraham Lincoln as a symbol of freedom is a commentary on developments pertaining to the idea of freedom after the end of the Cold War.
Although "Copperheads" began in the 1990s, the work, consisting of hundreds of images is more relevant today than ever before. The sheer quantity of photographs of different penny coins underlines their actual use as a means of payment, passed hand to hand and covered with countless traces of use. Their surfaces vary – sometimes notched, scarred, tarnished or rusted – making them reminiscent of aerial photographs of deserted, unknown terrains. As an analysis and at the same time fascinated by the psychology of money, Davey wrote in 2010:
"When I began collecting pennies for the Copperhead series, I’d just moved to NY, had no money and was thinking a lot about the psychology of money: Freudian ideas that equate money with excrement; the Potlatch custom of shaming a rival with extravagant gifts; profiles of 19th century misers; and one famous counterfeiter."
The "Copperheads" are a direct manifestation of her work on the film "Hell Notes" (1990), a 26-minute work shot on Super-8. In principle, within the film Davey develops theories on the nature of money. We see images from New York in the late 1980s, learn about the skyscrapers that characterize Wall Street and hear background information about the bedrock in Central Park and the construction of the Cathedral of Saint John the Divine. At the center of the film is the artist herself, sitting on a park bench talking about money and feces, the devil and hell. Somehow humorous and yet serious, she draws a long line from the Reformation and the Indulgences to links between money and religion.
The exhibition and the film "Hell Notes" at Portikus is a psychoanalytic exploration of currency and value, materiality and function. The older works presented here aim to provide an introduction to the work of Moyra Davey, which has grown in size and complexity over the years. In times of increasing acceleration of art production and mediation, the exhibition allows a concentrated focus on a specific work that, despite the year it began decades ago, is relevant still.
The exhibition is supported by the Embassy of Canada in Germany.
The exhibition "Hell Notes" by Moyra Davey is co-produced in collaboration with Bielefelder Kunstverein, where her work will be on view in early 2018.
www.portikus.de
Maininsel 2, Frankfurt am Main
Donnerstag, 30. November 2017
Moyra Davey: Artist Talk
Vortrag
Moyra Davey: Artist Talk
Donnerstag, 7. Dezember 2017, 19 Uhr, Aula
Moyra Davey works as a photographer and author and over the last few years has created a work that combines the two fields. One must also consider her as a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes, and integrates writings into her works and negotiates them. In this sense, she equates taking photographs as capturing her surroundings with writing notes while reading.
The artist talk will accompany her exhibition at Portikus titled Hell Notes, which will open on Friday, Dec 8 at 19h.
Moyra Davey was born in Toronto in 1958. She earned a BFA from Concordia University, Montreal, in 1982, and an MFA from the University of California San Diego in 1988. In 1989, she attended the Independent Study Program at the Whitney Museum of American Art, New York.
Der Vortrag findet in englischer Sprache statt.
Moyra Davey: Artist Talk
Donnerstag, 7. Dezember 2017, 19 Uhr, Aula
Moyra Davey works as a photographer and author and over the last few years has created a work that combines the two fields. One must also consider her as a reader who, as an intellectual artist, similar to an academic scholar, researches, scrutinizes, and integrates writings into her works and negotiates them. In this sense, she equates taking photographs as capturing her surroundings with writing notes while reading.
The artist talk will accompany her exhibition at Portikus titled Hell Notes, which will open on Friday, Dec 8 at 19h.
Moyra Davey was born in Toronto in 1958. She earned a BFA from Concordia University, Montreal, in 1982, and an MFA from the University of California San Diego in 1988. In 1989, she attended the Independent Study Program at the Whitney Museum of American Art, New York.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 29. November 2017
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Vortrag
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Mittwoch, 6. December 2017, 19 Uhr, Aula
Humans are committing omnicide, proselytized globally via Western notions of extraction, exploitation and finance crapital. Our Enlightenment-tinged operational institutions have wreaked havoc, yet convince us daily that they will, in fact, resolve this myriad of current irresolvable human conditions.
These institutions have instilled within us the annihilating mechanism of value, relying on the failed irrationality of human supremacy. This silly dogma of homo economicus externalizes all that is non-human in this world-for-us. It's crystal clear that the interrelation of planetary life forms has been lost on what we call the contemporary. Reason: unknown. As stated in 2005 by Oren R. Lyons, Faithkeeper of the Turtle Clan of the Onondaga Nation, "What you call resources, we call our relatives". We will discuss together.
A.L. Steiner utilizes constructions of photography, video, installation, collage, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer ecofeminist androgyne. Steiner is co-curator of Ridykeulous, co-founder of Working Artists and the Greater Economy (W.A.G.E.), a collective member of Chicks on Speed, and collaborates with numerous writers, performers, designers, activists and artists. She is MFA Faculty in Visual Arts at Bard College, Yale University and School of the Art Institute of Chicago and is based in Los Angeles and New York.
Der Vortrag findet in englischer Sprache statt.
A.L. Steiner: Difficult Thoughts / Schwierige Gedanken
Mittwoch, 6. December 2017, 19 Uhr, Aula
Humans are committing omnicide, proselytized globally via Western notions of extraction, exploitation and finance crapital. Our Enlightenment-tinged operational institutions have wreaked havoc, yet convince us daily that they will, in fact, resolve this myriad of current irresolvable human conditions.
These institutions have instilled within us the annihilating mechanism of value, relying on the failed irrationality of human supremacy. This silly dogma of homo economicus externalizes all that is non-human in this world-for-us. It's crystal clear that the interrelation of planetary life forms has been lost on what we call the contemporary. Reason: unknown. As stated in 2005 by Oren R. Lyons, Faithkeeper of the Turtle Clan of the Onondaga Nation, "What you call resources, we call our relatives". We will discuss together.
A.L. Steiner utilizes constructions of photography, video, installation, collage, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer ecofeminist androgyne. Steiner is co-curator of Ridykeulous, co-founder of Working Artists and the Greater Economy (W.A.G.E.), a collective member of Chicks on Speed, and collaborates with numerous writers, performers, designers, activists and artists. She is MFA Faculty in Visual Arts at Bard College, Yale University and School of the Art Institute of Chicago and is based in Los Angeles and New York.
Der Vortrag findet in englischer Sprache statt.
Samstag, 25. November 2017
Sophie von Hellermann: The Drama Continues
Vortrag
Sophie von Hellermann: The Drama Continues
Mittwoch, 29. November 2017, 19 Uhr, Aula
Sophie von Hellermann is known for her large scale canvases in pastel palettes, often presented in elaborate installations. The chosen title of her lecture The Drama Continues refers to the stories that her paintings tell, which often emerge out of the serial and narrative sequence of her installations. The lecture will thus be discussing possible problems of narrative figurative painting and qua examples shed light on the different ways of approaching these.
Sophie von Hellermann was born in 1975 in Munich. She received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include: Sophie von Hellermann at Office Baroque, Brussels (2017); After a Fashion– A Play with Fire at Vilma Gold, London (2015); Novel Ways at Greene Naftali, New York (2013); Elephant in the Room at Firstsite, Colchester (2013). She lives and works in London and Margate.
Der Vortrag findet in englischer Sprache statt.
Sophie von Hellermann: The Drama Continues
Mittwoch, 29. November 2017, 19 Uhr, Aula
Sophie von Hellermann is known for her large scale canvases in pastel palettes, often presented in elaborate installations. The chosen title of her lecture The Drama Continues refers to the stories that her paintings tell, which often emerge out of the serial and narrative sequence of her installations. The lecture will thus be discussing possible problems of narrative figurative painting and qua examples shed light on the different ways of approaching these.
Sophie von Hellermann was born in 1975 in Munich. She received her BFA from Kunstakademie, Düsseldorf and an MFA from Royal College of Art, London. Selected solo exhibitions include: Sophie von Hellermann at Office Baroque, Brussels (2017); After a Fashion– A Play with Fire at Vilma Gold, London (2015); Novel Ways at Greene Naftali, New York (2013); Elephant in the Room at Firstsite, Colchester (2013). She lives and works in London and Margate.
Der Vortrag findet in englischer Sprache statt.
Sonntag, 19. November 2017
Heman Chong: Ifs, Ands, or Buts
Vortrag
Heman Chong: Ifs, Ands, or Buts
Dienstag, 5. Dezember, 19 Uhr, Aula
"This lecture begins with a work that I didn’t make (it was an accident) and ends with a performance involving sentences I didn’t write (other artists did). In between, I would like to discuss a number of things that has passed through my eyes, hands and mind that have become a substantial part of what most people consider a part of my work; novels, bookshops, libraries, trees, calendars, postcards, words, stories, situations, exhibitions, time, texts, magazines, conferences, memories, translations, rumours, relationships, resistance, speech, secrets, distributions, bridges. This discussion will take place via deconstructing 10-15 works that I have made since 2003."
Heman Chong is an artist whose work is located at the intersection between image, performance, situations and writing. He has recently produced a series of interconnected exhibitions located in Art Sonje Center (Never, A Dull Moment, Seoul, 2015), South London Gallery (An Arm, A Leg and Other Stories, London, 2015) and Rockbund Art Museum (Ifs, Ands, Or Buts, Shanghai, 2016). He is the co-director and founder (with Renée Staal) of ‘The Library of Unread Books’ which has been installed in NTU Center for Contemporary Art, Singapore, The Museum of Contemporary Art and Design (MCAD), Manila and is currently installed in Casco Projects, Utrecht. He is currently working on a novel ‘The Book of Drafts’ which will be published by Polyparenthesis in 2019.
Der Vortrag findet in englischer Sprache statt.
Heman Chong: Ifs, Ands, or Buts
Dienstag, 5. Dezember, 19 Uhr, Aula
"This lecture begins with a work that I didn’t make (it was an accident) and ends with a performance involving sentences I didn’t write (other artists did). In between, I would like to discuss a number of things that has passed through my eyes, hands and mind that have become a substantial part of what most people consider a part of my work; novels, bookshops, libraries, trees, calendars, postcards, words, stories, situations, exhibitions, time, texts, magazines, conferences, memories, translations, rumours, relationships, resistance, speech, secrets, distributions, bridges. This discussion will take place via deconstructing 10-15 works that I have made since 2003."
Heman Chong is an artist whose work is located at the intersection between image, performance, situations and writing. He has recently produced a series of interconnected exhibitions located in Art Sonje Center (Never, A Dull Moment, Seoul, 2015), South London Gallery (An Arm, A Leg and Other Stories, London, 2015) and Rockbund Art Museum (Ifs, Ands, Or Buts, Shanghai, 2016). He is the co-director and founder (with Renée Staal) of ‘The Library of Unread Books’ which has been installed in NTU Center for Contemporary Art, Singapore, The Museum of Contemporary Art and Design (MCAD), Manila and is currently installed in Casco Projects, Utrecht. He is currently working on a novel ‘The Book of Drafts’ which will be published by Polyparenthesis in 2019.
Der Vortrag findet in englischer Sprache statt.
Montag, 13. November 2017
Pablo Larios: Lording Limit
Vortrag
Pablo Larios: Lording Limit
Dienstag, 14. November, 19 Uhr, Aula
The Lords of Limit, training dark and light
And setting a tabu ‘twixt left and right,
– W. H. Auden, ‘The Watchers’ (1932)
Pablo Larios: Lording Limit
Dienstag, 14. November, 19 Uhr, Aula
The Lords of Limit, training dark and light
And setting a tabu ‘twixt left and right,
– W. H. Auden, ‘The Watchers’ (1932)
However we define its borders, art has become a place for doing and making things that aren’t always possible in other fields. Film, theatre, music, poetry, academic research and political activism have found their way into contemporary art. The field has reconfigured itself beyond narrow art historical canons and shed many of the values that underpin traditional hermeneutic and critical models.
What does this mean for criticism, teaching, curating and making art? Seen positively, multidisciplinarity is evidence of contemporary art’s capaciousness, inclusiveness and variety. Yet increasingly, contemporary art is derided as a site of disciplinary impingement, capitalist or neoliberal subsumption, cultural appropriation and even political transgression. What are art’s limits and who draws that line? In his talk, Larios will discuss recent encounters between contemporary art and poetry, tech and activism.
Pablo Larios is a writer and associate editor of frieze magazine based in Berlin.
What does this mean for criticism, teaching, curating and making art? Seen positively, multidisciplinarity is evidence of contemporary art’s capaciousness, inclusiveness and variety. Yet increasingly, contemporary art is derided as a site of disciplinary impingement, capitalist or neoliberal subsumption, cultural appropriation and even political transgression. What are art’s limits and who draws that line? In his talk, Larios will discuss recent encounters between contemporary art and poetry, tech and activism.
Pablo Larios is a writer and associate editor of frieze magazine based in Berlin.
Der Vortrag findet in englischer Sprache statt.
Freitag, 10. November 2017
Daniel Dewar & Grégory Gicquel
Vortrag
Daniel Dewar & Grégory Gicquel
Montag, 13. November, 19 Uhr, Aula
Daniel Dewar & Grégory Gicquel are working together since 1997. Within their oeuvre, which has emerged over the past few years, they deal with traditional, handcrafted techniques in addition to their interest in classical sculpture. The artists are always concerned with manufacturing processes originating in different crafts, but that have become less and less visible in the course of technical automation. Dewar and Gicquel taught themselves various skills that are considered traditional, but do not necessarily employ the original techniques of the craft in the artistic production of their various works. In lengthy and complex stages, over recent years they have produced works in clay, high-fired ceramics, carved stone, wood and woven or embroidered textile.
On the occasion of their recent exhibition at Portikus, Daniel Dewar & Grégory Gicquel will deliver a lecture at Städelschule. Rather than presenting work, the artists will talk about the production process of individual pieces and site specific commissions.
Der Vortrag findet in englischer Sprache statt.
Daniel Dewar & Grégory Gicquel
Montag, 13. November, 19 Uhr, Aula
Daniel Dewar & Grégory Gicquel are working together since 1997. Within their oeuvre, which has emerged over the past few years, they deal with traditional, handcrafted techniques in addition to their interest in classical sculpture. The artists are always concerned with manufacturing processes originating in different crafts, but that have become less and less visible in the course of technical automation. Dewar and Gicquel taught themselves various skills that are considered traditional, but do not necessarily employ the original techniques of the craft in the artistic production of their various works. In lengthy and complex stages, over recent years they have produced works in clay, high-fired ceramics, carved stone, wood and woven or embroidered textile.
On the occasion of their recent exhibition at Portikus, Daniel Dewar & Grégory Gicquel will deliver a lecture at Städelschule. Rather than presenting work, the artists will talk about the production process of individual pieces and site specific commissions.
Der Vortrag findet in englischer Sprache statt.
Freitag, 27. Oktober 2017
Thomas Meinecke: You Make Me Feel Mighty Real
Vortrag
Thomas Meinecke: You Make Me Feel Mighty Real
Mittwoch, 1. November, 19 Uhr, Aula
Thomas Meinecke: You Make Me Feel Mighty Real
Mittwoch, 1. November, 19 Uhr, Aula
This lecture is will discuss both performatively and lyrically the idea of gender performance in pop music. You Make Me Feel Mighty Real was a major hit by the flaming Disco Queen Sylvester (formerly Cockettes), especially gaining resonance in the gay community. It was a central slogan of the disco movement, before this was killed off by Rock 1979 at a sport stadium under the motto Disco Sucks. And REALNESS is, of course, a queer high camp construct, which is awarded to participants in VOGUING competitions.
Thomas Meinecke is a German author, pop artist, musician and DJ. From 1978 to 1986 he was a co-editor and editor of the avant-garde magazine Mode & Verzweiflung. In the eighties he wrote columns for ZEIT. From 1986, he published stories and numerous novels, most recently the novel Selbst (Suhrkamp, 2016). Meinecke is also a musician and lyricist in the band Freiwillige Selbstkontrolle (FSK) as well as releasing records under his own name. He is also radio DJ in the program Zündfunk Nachtmix (BR 2) and regularly works as a club DJ. Since 2008, Meinecke has also been running a series of concerts under the title "Plattenspieler" at the Berlin Theater Hebbel am Ufer (HAU).
Thomas Meinecke is a German author, pop artist, musician and DJ. From 1978 to 1986 he was a co-editor and editor of the avant-garde magazine Mode & Verzweiflung. In the eighties he wrote columns for ZEIT. From 1986, he published stories and numerous novels, most recently the novel Selbst (Suhrkamp, 2016). Meinecke is also a musician and lyricist in the band Freiwillige Selbstkontrolle (FSK) as well as releasing records under his own name. He is also radio DJ in the program Zündfunk Nachtmix (BR 2) and regularly works as a club DJ. Since 2008, Meinecke has also been running a series of concerts under the title "Plattenspieler" at the Berlin Theater Hebbel am Ufer (HAU).
Der Vortrag findet in englischer Sprache statt.
Bonaventure Ndikung: The Dog Done Gone Deaf
Vortrag
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula
This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.
It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.
The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.
Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.
Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.
He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.
Der Vortrag findet in englischer Sprache statt.
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula
This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.
It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.
The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.
Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.
Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.
He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 25. Oktober 2017
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Vortrag Curatorial Studies
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Elena Filipovic will be speaking on her recent book, The Apparently Marginal Activites of Marcel Duchamp. The book tells a new story of the twentieth century’s most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp’s art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework.
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 19. Oktober 2017
Keller Easterling: Medium Design
Vortrag
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Der Vortrag findet in englischer Sprache statt.
Montag, 9. Oktober 2017
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Kollektion
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Dauer: 10.10.-14.10.2017
DI–FR ca. 11h – 18h
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
Eintritt frei.
Montag, 14. August 2017
Portikus XXX Summer Screenings: Non-work
Filmvorführung
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 17. Juli 2017
Portikus XXX – 30 Jahre Portikus: Anne Speier
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Anne Speier
Portikus XXX – 30 Jahre Portikus: Anne Speier
Donnerstag, 20. Juli 2017, 17 Uhr, Hotel Fleming’s Selection, Eschenheimer Tor 2
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
Sonntag, 16. Juli 2017
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus is turning thirty. Founded as a small art space on Schöne Aussicht in 1987, we moved from there to the Leinwandhaus and then to the Maininsel. Portikus XXX is the name of our anniversary project that doesn’t look back, but simply keeps moving ahead, not inside Portikus itself, but in the city so important to us: Frankfurt am Main. We leave our space and, with small gestures and major interventions, present new works in urban places that shape the cityscape. In this way, Portikus XXX addresses a broad audience while, at the same time, we continue to do what we’ve been doing in recent years: making exhibitions that stimulate, expand perspectives and ask questions.
Over the course of the summer, Portikus will in collaboration with various internationally renowned artists intervene in the public space of Frankfurt am Main. The inaugurate opening is pleased to have worked with Shannon Bool in the Dom as well the fiction class led by Marc von Schlegell. Further openings are to be announced soon.
Double Opening, 18th of July
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Eintritt Frei.
Portikus XXX: Summer screenings
Filmvorführung
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
Wednesday the 19th of July will be the first of a series of screenings at Portikus.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 10. Juli 2017
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Vortrag
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Dienstag, 11. Juli 2017, 19 Uhr, Aula
Susanne Kriemann, born 1972 in Erlangen, Germany, is an artist living and working in Berlin. She is professor for artistic photography at University of Design in Karlsruhe and a long-term advisor at the Jan Van Eyck Academy in Maastricht (NL), where she continues her on-going exploration of research and artist practice. Together with Aleksander Komarov, she founded the artist initiative AIR Berlin Alexanderplatz (www.airberlinalexanderplatz.de). The works of Susanne Kriemann are represented by Galerie Wilfried Lentz, Rotterdam and Galerie RaebervonStenglin, Zürich (2009-2016). Kriemann also publishes artist books, that are testaments to her overarching concern with historiography—how history is written, read, and rewritten—and the connections that can be found between art, literature, and archaeology.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 28. Juni 2017
Stephan Dillemuth: Corporate Rokoko
Vortrag
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Corporate Rokoko is a concept that was coined in the last years of the 20th century by Werner von Delmont to describe an aesthetic representation program that induced hallucination into dominating and powerful corporations.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
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