Vortrag
Susanne Gaensheimer: Jack Goldstein
Dienstag, 8 Dezember, 19 Uhr, Aula
Die Ausstellung von Jack Goldstein ist die erste in einer neuen Reihe von umfassenden Retrospektiven, die das MMK ausgewählten Positionen seiner Sammlung widmet. Jack Goldstein (geb. 1945 in Montreal, gest. 2003 in San Bernardino), der in der Sammlung des MMK mit exemplarischen Werken vertreten ist, gehört zu den wichtigsten »Künstler-Künstlern« der letzten 30 Jahre. Von Künstlern und dem Fachpublikum international geschätzt, ist er einem breiteren Publikum nach wie vor unbekannt.
Nach seiner Ausbildung u.a. am neu gegründeten California Institute of the Arts in der berühmten »Post-Studio Art«-Klasse von John Baldessari Mitte der 60er Jahre arbeitete er sowohl in Los Angeles als auch in New York. Durch die Gruppenausstellung »Pictures« des Kritikers und Theoretikers Douglas Crimp 1977 im New Yorker »Artists Space« wurde Jack Goldstein als Teil einer neuen Künstlergeneration bekannt, die sich sowohl vom Minimalismus und der Pop-Art absetzte als auch beide Kunstrichtungen kritisch weiterentwickelte. In einem Interview formuliert Goldstein: »Ich interessiere mich für die Lücke zwischen Minimalismus und Pop-Art: für die Objekthaftigkeit und Autonomie im Minimalismus sowie für den Stoff unserer Kultur, der sich in der Pop-Art findet.« Goldsteins außergewöhnliches Oeuvre zeichnet sich durch Vielfalt und Eigenständigkeit aus: Es umfasst Performances, Filme, Schallplatten, Gemälde, graphisch gestaltete Aphorismen und Texte. Für seine kritische Auseinandersetzung mit den medial vermittelten Bildern der westlichen Kultur nutzte er Techniken und Bilder der Kulturindustrie und der Werbung. »Media is sensational« schreibt Jack Goldstein in einem aphoristischen Katalogbeitrag für die documenta 7, der als Leitmotiv für sein Werk betrachtet werden kann. In den 1980er Jahren galt Goldstein neben Richard Prince, Sherrie Levine, Robert Longo und David Salle als einer der wichtigen Künstler der so genannten Picture Generation.
Die Ausstellung im MMK ist die erste umfassende Museumsausstellung des Künstlers in Deutschland seit 1985. Goldstein, der mit Filmen und Gemälden auf der documenta 7 (1982) und 8 (1987) vertreten war, hatte größere Einzelausstellungen in Amerika und Europa, zuletzt 2002 im »Magasin, Centre National d'Art Contemporain«, Grenoble. Die Ausstellung im MMK ist die erste umfassende Museumsausstellung des Künstlers in Deutschland seit 1985.
Dr. Susanne Gaensheimer promovierte 1997 an der Ludwig-Maximilians-Universität München, von 1999 – 2001 war sie Direktorin des Westfälischen Kunstvereins in Münster, von 2002-2008 Leiterin der Sammlung für Internationale Gegenwartskunst und Kuratorin in der Städtischen Galerie im Lenbachhaus München und seit 2008 ist sie Direktorin des MMK Museum für Moderne Kunst Frankfurt am Main.
Freitag, 11. Dezember 2009
Dienstag, 1. Dezember 2009
ISABELLE GRAW
Vortrag
Isabelle Graw: "And the Winner is: Criticism"
Dienstag, 1. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
There is no "criticism" as such but different notions and practices of Criticism that have to be examined. As far as art critics are concerned, this talk starts from the premise that there is currently a tendency towards "expanded competence profiles" to be observed. These extended competence profiles - embodied for instance by the critic-curator - are considered to be symptomatic for increased market pressures. While avoiding any nostalgic plea for a return to a more restricted division of labor, it will be demonstrated how criticism as a concept actually implies the production of dualisms. And one of the main dualisms that Criticism assumes and produces is the Dualism between "Art" and "The Market". While pointing to Criticism´s implication in market conditions, Graw nevertheless insists on its potential to question hegemonic value judgments.
Prof. Dr. Isabelle Graw lives and works in Berlin. She founded "Texte zur Kunst", recently published "Der große Preis. Kunst zwischen Markt und Celebrity Kultur" and is a Professor of Art History and Criticism at the Städelschule.
Isabelle Graw: "And the Winner is: Criticism"
Dienstag, 1. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
There is no "criticism" as such but different notions and practices of Criticism that have to be examined. As far as art critics are concerned, this talk starts from the premise that there is currently a tendency towards "expanded competence profiles" to be observed. These extended competence profiles - embodied for instance by the critic-curator - are considered to be symptomatic for increased market pressures. While avoiding any nostalgic plea for a return to a more restricted division of labor, it will be demonstrated how criticism as a concept actually implies the production of dualisms. And one of the main dualisms that Criticism assumes and produces is the Dualism between "Art" and "The Market". While pointing to Criticism´s implication in market conditions, Graw nevertheless insists on its potential to question hegemonic value judgments.
Prof. Dr. Isabelle Graw lives and works in Berlin. She founded "Texte zur Kunst", recently published "Der große Preis. Kunst zwischen Markt und Celebrity Kultur" and is a Professor of Art History and Criticism at the Städelschule.
MARK LECKEY
Einweihungsfeier der neuen Übergangsateliers der Städelschule
"The Welcome Party"
Programm:
20:00 Uhr Mark Leckey: The End of the lange Schwanz, Vortrag
21:00 Abendessen
22:00 Nico Vascellari, "Women in the Woods", Konzert
22:30 Party, div. DJ´s
Montag, 30. November 2009
Städelschule
Daimlerstraße 32
60314 Frankfurt am Main
Vortrag
Mark Leckey: The End of the lange Schwanz
Montag, 30. November, 20 Uhr, Projektraum, Daimlerstraße 32
Die Veranstaltung findet in englischer Sprache statt.
Anschließend erwartet Sie ein Abendessen, zubereitet von Att Poomtangon zu Ehren Leckeys.
2008 Turner Prize winner Mark Leckey recently embarked on a year-long series of theatrical lectures entitled ‘Mark Leckey in the Long Tail’, bringing together ‘old-school’ didactics, a film soundstage and fine art performance. Leckey deconstructs the ‘Long Tail’ phenomenon by way of the character Felix the Cat, among other manifestations, which he believes embody the concept. A term coined by American journalist Chris Anderson, ‘The Long Tail’ represents the frequency with which marginal endeavours are consumed. The very few most popular are designated by ‘the head’ (take for example, in song-writing the top 40 music chart hits), with the remainder, ‘The Long Tail’, representing the innumerable songs written by unsigned rock units.
Mark Leckey lives and works in London, his work has been exhibited at P.S.1 Contemporary Art Center, New York; Tate Britain, London; and at the Istanbul Biennial, Turkey. His work is included in collections at Centre Georges Pompidou, Paris; The Museum of Contemporary Art, Los Angeles; and the Walker Art Center, Minneapolis. Two of Leckey’s works are in MoMA’s collection: Made in ‘Eaven (2004) and Cinema in the Round (2006–08), which was recently acquired by the Museum.
Mark Leckey has been Professor of Film at the Städelschule since 2005.
"The Welcome Party"
Programm:
20:00 Uhr Mark Leckey: The End of the lange Schwanz, Vortrag
21:00 Abendessen
22:00 Nico Vascellari, "Women in the Woods", Konzert
22:30 Party, div. DJ´s
Montag, 30. November 2009
Städelschule
Daimlerstraße 32
60314 Frankfurt am Main
Vortrag
Mark Leckey: The End of the lange Schwanz
Montag, 30. November, 20 Uhr, Projektraum, Daimlerstraße 32
Die Veranstaltung findet in englischer Sprache statt.
Anschließend erwartet Sie ein Abendessen, zubereitet von Att Poomtangon zu Ehren Leckeys.
2008 Turner Prize winner Mark Leckey recently embarked on a year-long series of theatrical lectures entitled ‘Mark Leckey in the Long Tail’, bringing together ‘old-school’ didactics, a film soundstage and fine art performance. Leckey deconstructs the ‘Long Tail’ phenomenon by way of the character Felix the Cat, among other manifestations, which he believes embody the concept. A term coined by American journalist Chris Anderson, ‘The Long Tail’ represents the frequency with which marginal endeavours are consumed. The very few most popular are designated by ‘the head’ (take for example, in song-writing the top 40 music chart hits), with the remainder, ‘The Long Tail’, representing the innumerable songs written by unsigned rock units.
Mark Leckey lives and works in London, his work has been exhibited at P.S.1 Contemporary Art Center, New York; Tate Britain, London; and at the Istanbul Biennial, Turkey. His work is included in collections at Centre Georges Pompidou, Paris; The Museum of Contemporary Art, Los Angeles; and the Walker Art Center, Minneapolis. Two of Leckey’s works are in MoMA’s collection: Made in ‘Eaven (2004) and Cinema in the Round (2006–08), which was recently acquired by the Museum.
Mark Leckey has been Professor of Film at the Städelschule since 2005.
RACHEL HARRISON
Vortrag
Rachel Harrison: Eroberung des Nutzlosen
Mittwoch, 25. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The American artist Rachel Harrison’s sculptures are at once autonomous and always part of a larger installational ensemble. Such an ensemble is often based on a specific idea or tendency the various objects pursue in different ways. Her work combines industrially produced and handmade elements, abstract shapes and real objects in precarious sculptural units that present lateral views finished in a variety of ways.
They tell of characters and events in recent art and cultural history as well as the popular world of the media. The works suggest combinatorial clues, engender effects; now and then the structures even dissolve into references within a private language, or at least become difficult to understand.
Rachel Harrison’s strategies are unsettling and provoking, seducing and destabilizing our thinking in patterns of representation, whose internal dynamism she uses in masterful fashion only to induce, without further ado, their collapse in such dialectical reversals. The American author John Kelsey, for instance, writes: “And if Harrison’s sculpture is so caught up in this chaos of signs and surface effects it’s precisely because it’s so serious about space: in a time when space and image lose their distinction, and the old, ideal distance between viewer and object is always already filled up and occupied by a thousand communications, sculpture, too, finds ways of making itself multi-surfaced and schizo-temporal. In order to re-occupy our contemporary no-space, it trades in its timeless pose for a temporary one, or for a manic series of appearances.” With these appearances, there will be no real final decoding of a concealed truth or an idea. True, there is between disguise and sculpture a world where people like Jack Smith, Leigh Bowery, Liz Taylor, Al Gore, E.T., the Venus de Milo, Leonardo DiCaprio, or Marilyn Monroe come to life. Yet plenty of tchotchkes, magazine illustrations, canned beans, Slim-Fast in cans, honey bears and such things are also waiting to be seen and to be put in combination.
Rachel Harrison is showing new works at PORTIKUS, Frankfurt am Main from November 28 to January 17, 2010. Her first large-scale survey exhibition at the CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY is still on view until December 20 before moving, in April 2010, in a revised version, to the Whitechapel Gallery, London.
Rachel Harrison was born in New York in 1966. She lives and works in New York.
Rachel Harrison: Eroberung des Nutzlosen
Mittwoch, 25. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The American artist Rachel Harrison’s sculptures are at once autonomous and always part of a larger installational ensemble. Such an ensemble is often based on a specific idea or tendency the various objects pursue in different ways. Her work combines industrially produced and handmade elements, abstract shapes and real objects in precarious sculptural units that present lateral views finished in a variety of ways.
They tell of characters and events in recent art and cultural history as well as the popular world of the media. The works suggest combinatorial clues, engender effects; now and then the structures even dissolve into references within a private language, or at least become difficult to understand.
Rachel Harrison’s strategies are unsettling and provoking, seducing and destabilizing our thinking in patterns of representation, whose internal dynamism she uses in masterful fashion only to induce, without further ado, their collapse in such dialectical reversals. The American author John Kelsey, for instance, writes: “And if Harrison’s sculpture is so caught up in this chaos of signs and surface effects it’s precisely because it’s so serious about space: in a time when space and image lose their distinction, and the old, ideal distance between viewer and object is always already filled up and occupied by a thousand communications, sculpture, too, finds ways of making itself multi-surfaced and schizo-temporal. In order to re-occupy our contemporary no-space, it trades in its timeless pose for a temporary one, or for a manic series of appearances.” With these appearances, there will be no real final decoding of a concealed truth or an idea. True, there is between disguise and sculpture a world where people like Jack Smith, Leigh Bowery, Liz Taylor, Al Gore, E.T., the Venus de Milo, Leonardo DiCaprio, or Marilyn Monroe come to life. Yet plenty of tchotchkes, magazine illustrations, canned beans, Slim-Fast in cans, honey bears and such things are also waiting to be seen and to be put in combination.
Rachel Harrison is showing new works at PORTIKUS, Frankfurt am Main from November 28 to January 17, 2010. Her first large-scale survey exhibition at the CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY is still on view until December 20 before moving, in April 2010, in a revised version, to the Whitechapel Gallery, London.
Rachel Harrison was born in New York in 1966. She lives and works in New York.
PETER FEND
Vortrag
Peter Fend: Konsequenzen von Kunst
Donnerstag, 5. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
In cooperation with "Other" (Frankfurter Kunstverein) and "Other" (Dom Museum) showing
Peter Fend "Fluege ueber: Afghanistan auch Iran"
from 5. Nov - 22.Nov. 2009
Opening: 4. Nov. 9pm
Curated by Oliver Heinzenberger and Shane Munro
On the principle that art should do more than just sit there looking pretty, Peter Fend established the Ocean Earth Development Corporation in 1980. A blend of Conceptual art, activism and entrepreneurship, it tackles environmental problems through an application of art-as-concept.
The group‘s aim is to fulfil the architectural requirement for living waters, clean air, circulatory space and territorial integrity. They also use satellite imaging to monitor and analyze global ecological and geopolitical hot-spots, largely for media clients. Considering the world a living earthwork, ecological aspects are linked to and interconnected with artistic aspects.
Mr. Fend's influences are varied, ranging from hard science to hard-thinking artists like Robert Smithson and Joseph Beuys.
Peter Fend lives in New Zealand.
In the show "Fluege ueber: Afghanistan auch Iran" he represents an enlarged Exxonmobile-ad to expose how they blocked his 2 million dollar grant for renewable fuels and presents a Scenario of renewable fuels for the flyway from Somalia over Afganistan to the Aral Sea. The technology is being developed at Ruhr 2010.
Peter Fend: Konsequenzen von Kunst
Donnerstag, 5. November, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
In cooperation with "Other" (Frankfurter Kunstverein) and "Other" (Dom Museum) showing
Peter Fend "Fluege ueber: Afghanistan auch Iran"
from 5. Nov - 22.Nov. 2009
Opening: 4. Nov. 9pm
Curated by Oliver Heinzenberger and Shane Munro
On the principle that art should do more than just sit there looking pretty, Peter Fend established the Ocean Earth Development Corporation in 1980. A blend of Conceptual art, activism and entrepreneurship, it tackles environmental problems through an application of art-as-concept.
The group‘s aim is to fulfil the architectural requirement for living waters, clean air, circulatory space and territorial integrity. They also use satellite imaging to monitor and analyze global ecological and geopolitical hot-spots, largely for media clients. Considering the world a living earthwork, ecological aspects are linked to and interconnected with artistic aspects.
Mr. Fend's influences are varied, ranging from hard science to hard-thinking artists like Robert Smithson and Joseph Beuys.
Peter Fend lives in New Zealand.
In the show "Fluege ueber: Afghanistan auch Iran" he represents an enlarged Exxonmobile-ad to expose how they blocked his 2 million dollar grant for renewable fuels and presents a Scenario of renewable fuels for the flyway from Somalia over Afganistan to the Aral Sea. The technology is being developed at Ruhr 2010.
HU FANG / CHU YUN / HELKE BAYRLE
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Lecture
Hu Fang: New Species of Space
Dienstag, 13 Oktober, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
"Spaces have multiplied, been broken up and have diversified… To live is to pass from one space to another, while doing your very best not to bump yourself."
(Georges Perec)
When reality has already become commodity, Hu Fang would like to talk about his recent novel Garden of Mirrored Flowers as well as observations of a special transformation: a labyrinth to be lost in, but also a productive context to produce reality with fictional approaches – precisely because we are situated within a reality replete with multiple routes. Also he will refer about the exhibition of Chu Yun in Portikus.
Hu Fang is a fiction writer ( www.hufangwrites.com) and co-founder of Vitamin Creative Space (www.vitamincreativespace.com) in Guangzhou, and "the shop" in Beijing (vitamincreativespace.blogbus.com).
Ausstellung
Chu Yun
Eröffnung: Donnerstag, 15. Oktober, 20 Uhr, Portikus
Ausstellungsdauer: 16. Oktober - 15. November 2009
In seinen Arbeiten geht der chinesische Künstler Chu Yun vorwiegend installativ vor und bezieht sich unmittelbar auf seine Erfahrungswelt. Oftmals ist dabei der Produktionsprozess selbst als Teil des Kunstwerks mit zu betrachten. Während sich vielleicht die jüngsten Arbeiten mehr und mehr strukturell gesellschaftlichen Beobachtungen widmen, beziehen sich frühere Arbeiten wiederkehrend auf sehr persönliche und alltägliche Referenzen. Sie tasten in diesem Spannungsfeld die Grenzen der künstlerischen Produktion und der Dynamik des Rezeptionsprozesses ab. Chu Yuns künstlerische Sprache ist sehr klar, dabei gelingt es ihm aber auf poetische Weise das Verborgene zu offenbaren und damit den Blick auf das Reale freizugeben.
In einem Gespräch mit dem Kurator Hu Fang hat Chu Yun die Beschäftigung mit dem Alltäglichen folgendermaßen beschrieben: “In der Tat sind die Dinge die uns verändern weniger die, denen wir uns ganz offen bewusst sind, oder an die wir uns gar erinnern können. Ich denke, wir neigen eher dazu unbewusst geleitet zu werden, von Dingen, die wir nicht eben so wahrnehmen. Und, dass uns diese Dinge noch viel schneller und drastischer verändern.“
Unter dem Titel "Chu Yun" hat der Künstler im Portikus ein für einen Innenraum beinahe überdimensioniertes Blumenbeet installieren lassen, welches in seiner Erscheinung und Ausführung beeindruckt. In vielschichtigen und flamboyant-verschiedenfarbigen Blumenpflanzungen, die an einen barocken Garten erinnern, erhebt sich eine florale Rotunde in der Mitte des Ausstellungsraums. Diese kann von allen Seiten betrachtet werden. Mit dem Blick von der oberen Galerie des Portikus erschließt sich dem Betrachter jedoch eine weitere Dimension der Installation, in deren Mitte die Worte „Make a Great Work“ eingepflanzt sind. Chu Yun führt mit der überwältigenden Dichte und gestischen Überschwänglichkeit des Blumenbildes den Kontrast zwischen einer persönlichen Aussage und der artifiziellen Form eines Kunstwerks vor. In der Kombination dieser beiden zugleich komplex und einfach erscheinenden Elemente ist durchaus auch ein selbstironischer Zug in der Reflexion über künstlerische Repräsentation zu erkennen. Zugleich erinnert die Größe der Installation an Blumenrabatten im öffentlichen Raum. Dies könnte vielleicht als Verweis auf in China durchaus übliche urbane Anlagen dieser Art gelesen werden. In der Fülle der dicht an dicht aneinander gesetzten Blumen versteckt sich aber auch eine Analogie zur alltäglichen Erfahrung der Gesellschaft als eine Masse von Individuen.
Chu Yun, geboren 1977 in Jiangxi, lebt und arbeitet in Peking, China. Sein internationaler Erfolg spiegelt sich in einer Reihe von Ausstellungsbeteiligungen der letzten Jahre, wie etwa der 53. Venedig Biennale, den Gruppenausstellungen The Generational: Younger than Jesus im New Museum, New York 2009, Sprout from White Nights in der Bonniers Konsthall, Stockholm 2008, Our Future: The Guy & Myriam Ullens Foundation Collection, UCCA, Ullens Center for Contemporary Art in Peking 2008, sowie 2007 dem viel diskutierten Projekt "This is xx" auf der Frieze Art Fair in London wider. Im selben Jahr präsentierte Vitamin Creative Space in Guangzhou, China eine Einzelausstellung mit Chu Yun.
DVD- und Buch-Präsentation
Helke und Thomas Bayrle
Donnerstag, 15. Oktober, 19 Uhr, Portikus
Die Neuerscheinung "Portikus under Construction" von Helke Bayrle ist bei SternbergPress erschienen. Das DVD-Projekt umfasst 53 Dokumentationen zu den Ausstellungsaufbauten der vergangenen Jahre.
Die in Frankfurt am Main lebende Filmemacherin Helke Bayrle hat bereits seit vielen Jahren die Aktivitäten des Portikus dokumentiert. Das Ergebnis ist eine einzigartige Sammlung von Künstlerporträts, aus der wir hier das vergangene Jahrzehnt präsentieren. Es handelt sich um Material, das hinter den Kulissen aufgenommen wurde und um Szenen, die man als Betrachter der fertigen Ausstellungen normalerweise nicht zu sehen bekommt. Einige der Künstler sprechen bereitwillig über die Form und Bedeutung ihrer Arbeit, andere sind auf die Zusammenarbeit mit dem Installationsteam und den Kuratoren konzentriert. Helke Bayrles Material ist äußerst umfangreich und stellt ein wichtiges Archiv zur zeitgenössischen Praxis des Ausstellungmachens dar. Die hier vorliegenden drei DVDs präsentieren eine Auswahl von geschnittenen Versionen einzelner Künstlerporträts. Sie zeigen die Künstler beim Arbeiten im Portikus, gleichzeitig vermitteln sie uns einen Blick hinter die Kulissen einer der lebendigsten und experimentellsten Kunstinstitutionen Europas. Jedes einzelne Kapitel wird zu einer Version des Portikus „under construction“.
Die vorliegende Sammlung beginnt mit Michael Elmgreen & Ingar Dragsets „Powerless Structures, Fig. 111“ von 2001.
Mit dem Buch "Parkhaus Köln"stellt der Verlag der Buchhandlung Walther König eine Parkhausarchitektur von Thomas Bayrle vor. Neben Miniaturautos hat Bayrle hier auch vier kleine Bücher gestellt. Jedes Exemplar ist ein Unikat und vom Künstler zusätzlich mit Aquarell, Collage oder Siebdruck ausgestattet.
Staatliche Hochschule für Bildende Künste - Städelschule
Dürerstraße 10
D-60596 Frankfurt am Main
Tel +49 (0) 69 60 50 08-0
Fax +49 (0) 69 60 50 08-66
www.staedelschule.de
Wenn Sie keine weiteren Informationen über Veranstaltungen in der Städelschule erhalten möchten, beantworten sie diese Email mit dem Hinweis LÖSCHEN in der Betreffzeile.
Lecture
Hu Fang: New Species of Space
Dienstag, 13 Oktober, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
"Spaces have multiplied, been broken up and have diversified… To live is to pass from one space to another, while doing your very best not to bump yourself."
(Georges Perec)
When reality has already become commodity, Hu Fang would like to talk about his recent novel Garden of Mirrored Flowers as well as observations of a special transformation: a labyrinth to be lost in, but also a productive context to produce reality with fictional approaches – precisely because we are situated within a reality replete with multiple routes. Also he will refer about the exhibition of Chu Yun in Portikus.
Hu Fang is a fiction writer ( www.hufangwrites.com) and co-founder of Vitamin Creative Space (www.vitamincreativespace.com) in Guangzhou, and "the shop" in Beijing (vitamincreativespace.blogbus.com).
Ausstellung
Chu Yun
Eröffnung: Donnerstag, 15. Oktober, 20 Uhr, Portikus
Ausstellungsdauer: 16. Oktober - 15. November 2009
In seinen Arbeiten geht der chinesische Künstler Chu Yun vorwiegend installativ vor und bezieht sich unmittelbar auf seine Erfahrungswelt. Oftmals ist dabei der Produktionsprozess selbst als Teil des Kunstwerks mit zu betrachten. Während sich vielleicht die jüngsten Arbeiten mehr und mehr strukturell gesellschaftlichen Beobachtungen widmen, beziehen sich frühere Arbeiten wiederkehrend auf sehr persönliche und alltägliche Referenzen. Sie tasten in diesem Spannungsfeld die Grenzen der künstlerischen Produktion und der Dynamik des Rezeptionsprozesses ab. Chu Yuns künstlerische Sprache ist sehr klar, dabei gelingt es ihm aber auf poetische Weise das Verborgene zu offenbaren und damit den Blick auf das Reale freizugeben.
In einem Gespräch mit dem Kurator Hu Fang hat Chu Yun die Beschäftigung mit dem Alltäglichen folgendermaßen beschrieben: “In der Tat sind die Dinge die uns verändern weniger die, denen wir uns ganz offen bewusst sind, oder an die wir uns gar erinnern können. Ich denke, wir neigen eher dazu unbewusst geleitet zu werden, von Dingen, die wir nicht eben so wahrnehmen. Und, dass uns diese Dinge noch viel schneller und drastischer verändern.“
Unter dem Titel "Chu Yun" hat der Künstler im Portikus ein für einen Innenraum beinahe überdimensioniertes Blumenbeet installieren lassen, welches in seiner Erscheinung und Ausführung beeindruckt. In vielschichtigen und flamboyant-verschiedenfarbigen Blumenpflanzungen, die an einen barocken Garten erinnern, erhebt sich eine florale Rotunde in der Mitte des Ausstellungsraums. Diese kann von allen Seiten betrachtet werden. Mit dem Blick von der oberen Galerie des Portikus erschließt sich dem Betrachter jedoch eine weitere Dimension der Installation, in deren Mitte die Worte „Make a Great Work“ eingepflanzt sind. Chu Yun führt mit der überwältigenden Dichte und gestischen Überschwänglichkeit des Blumenbildes den Kontrast zwischen einer persönlichen Aussage und der artifiziellen Form eines Kunstwerks vor. In der Kombination dieser beiden zugleich komplex und einfach erscheinenden Elemente ist durchaus auch ein selbstironischer Zug in der Reflexion über künstlerische Repräsentation zu erkennen. Zugleich erinnert die Größe der Installation an Blumenrabatten im öffentlichen Raum. Dies könnte vielleicht als Verweis auf in China durchaus übliche urbane Anlagen dieser Art gelesen werden. In der Fülle der dicht an dicht aneinander gesetzten Blumen versteckt sich aber auch eine Analogie zur alltäglichen Erfahrung der Gesellschaft als eine Masse von Individuen.
Chu Yun, geboren 1977 in Jiangxi, lebt und arbeitet in Peking, China. Sein internationaler Erfolg spiegelt sich in einer Reihe von Ausstellungsbeteiligungen der letzten Jahre, wie etwa der 53. Venedig Biennale, den Gruppenausstellungen The Generational: Younger than Jesus im New Museum, New York 2009, Sprout from White Nights in der Bonniers Konsthall, Stockholm 2008, Our Future: The Guy & Myriam Ullens Foundation Collection, UCCA, Ullens Center for Contemporary Art in Peking 2008, sowie 2007 dem viel diskutierten Projekt "This is xx" auf der Frieze Art Fair in London wider. Im selben Jahr präsentierte Vitamin Creative Space in Guangzhou, China eine Einzelausstellung mit Chu Yun.
DVD- und Buch-Präsentation
Helke und Thomas Bayrle
Donnerstag, 15. Oktober, 19 Uhr, Portikus
Die Neuerscheinung "Portikus under Construction" von Helke Bayrle ist bei SternbergPress erschienen. Das DVD-Projekt umfasst 53 Dokumentationen zu den Ausstellungsaufbauten der vergangenen Jahre.
Die in Frankfurt am Main lebende Filmemacherin Helke Bayrle hat bereits seit vielen Jahren die Aktivitäten des Portikus dokumentiert. Das Ergebnis ist eine einzigartige Sammlung von Künstlerporträts, aus der wir hier das vergangene Jahrzehnt präsentieren. Es handelt sich um Material, das hinter den Kulissen aufgenommen wurde und um Szenen, die man als Betrachter der fertigen Ausstellungen normalerweise nicht zu sehen bekommt. Einige der Künstler sprechen bereitwillig über die Form und Bedeutung ihrer Arbeit, andere sind auf die Zusammenarbeit mit dem Installationsteam und den Kuratoren konzentriert. Helke Bayrles Material ist äußerst umfangreich und stellt ein wichtiges Archiv zur zeitgenössischen Praxis des Ausstellungmachens dar. Die hier vorliegenden drei DVDs präsentieren eine Auswahl von geschnittenen Versionen einzelner Künstlerporträts. Sie zeigen die Künstler beim Arbeiten im Portikus, gleichzeitig vermitteln sie uns einen Blick hinter die Kulissen einer der lebendigsten und experimentellsten Kunstinstitutionen Europas. Jedes einzelne Kapitel wird zu einer Version des Portikus „under construction“.
Die vorliegende Sammlung beginnt mit Michael Elmgreen & Ingar Dragsets „Powerless Structures, Fig. 111“ von 2001.
Mit dem Buch "Parkhaus Köln"stellt der Verlag der Buchhandlung Walther König eine Parkhausarchitektur von Thomas Bayrle vor. Neben Miniaturautos hat Bayrle hier auch vier kleine Bücher gestellt. Jedes Exemplar ist ein Unikat und vom Künstler zusätzlich mit Aquarell, Collage oder Siebdruck ausgestattet.
Staatliche Hochschule für Bildende Künste - Städelschule
Dürerstraße 10
D-60596 Frankfurt am Main
Tel +49 (0) 69 60 50 08-0
Fax +49 (0) 69 60 50 08-66
www.staedelschule.de
Wenn Sie keine weiteren Informationen über Veranstaltungen in der Städelschule erhalten möchten, beantworten sie diese Email mit dem Hinweis LÖSCHEN in der Betreffzeile.
Donnerstag, 16. Juli 2009
ATT POOMTANGON
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Lecture
Att Poomtangon: Keep something for the way
Tuesday, 21 July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
The convergence of fundamental themes of social engagement and the questioning of technological achievements that profoundly influence the ecosystem have been features of Att Poomtangon’s art work for a number of years. In a rather poetic way he has succeeded in tracing, by means of a cultural translation, that which gets lost in an automated cultural process.
Att Poomtangon was born in Thailand and studied art and sculpture at Chiangmai University through 1999 before completed his master’s studies in the Rehberger class at the Städelschule. He recently participated in Fare Mondi – Making Worlds, the 53rd Venice Biennale, and amongst others the Nassauischen Kunstverein in Wiesbaden presented his work in the solo exhibition something about tomorrow evening in 2008.
Ausstellung
Att Poomtangon: On the Way to the Alps I see Sand
Eröffnung: Freitag, 24. Juli, 20 Uhr, Portikus
Ausstellungsdauer: 25. Juli – 6. September 2009
Mit der ortsspezifischen Installation On the Way to the Alps I see Sand bezieht sich der thailändische Künstler Att Poomtangon ganz unmittelbar auf die geografische Verortung des Portikus und nutzt den die Portikusinsel umgebenden Main als Ausgangspunkt für eine weit reichende Recherche rund um das Thema des gesellschaftlichen Umgangs mit natürlichen Ressourcen und den kausalen ökonomischen Zwängen. Die Situation, die er im Portikus herstellt, ist nicht diejenige einer unmittelbar politischen Diagrammatik, vielmehr sucht er die rituelle Stimmung eines thailändischen Tempels herzustellen, in dem die Sinne geschärft und über den eigenen physischen Einsatz Sensibilisierungsprozesse erreicht werden.
Lecture
Att Poomtangon: Keep something for the way
Tuesday, 21 July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
The convergence of fundamental themes of social engagement and the questioning of technological achievements that profoundly influence the ecosystem have been features of Att Poomtangon’s art work for a number of years. In a rather poetic way he has succeeded in tracing, by means of a cultural translation, that which gets lost in an automated cultural process.
Att Poomtangon was born in Thailand and studied art and sculpture at Chiangmai University through 1999 before completed his master’s studies in the Rehberger class at the Städelschule. He recently participated in Fare Mondi – Making Worlds, the 53rd Venice Biennale, and amongst others the Nassauischen Kunstverein in Wiesbaden presented his work in the solo exhibition something about tomorrow evening in 2008.
Ausstellung
Att Poomtangon: On the Way to the Alps I see Sand
Eröffnung: Freitag, 24. Juli, 20 Uhr, Portikus
Ausstellungsdauer: 25. Juli – 6. September 2009
Mit der ortsspezifischen Installation On the Way to the Alps I see Sand bezieht sich der thailändische Künstler Att Poomtangon ganz unmittelbar auf die geografische Verortung des Portikus und nutzt den die Portikusinsel umgebenden Main als Ausgangspunkt für eine weit reichende Recherche rund um das Thema des gesellschaftlichen Umgangs mit natürlichen Ressourcen und den kausalen ökonomischen Zwängen. Die Situation, die er im Portikus herstellt, ist nicht diejenige einer unmittelbar politischen Diagrammatik, vielmehr sucht er die rituelle Stimmung eines thailändischen Tempels herzustellen, in dem die Sinne geschärft und über den eigenen physischen Einsatz Sensibilisierungsprozesse erreicht werden.
Freitag, 3. Juli 2009
END OF YEAR / BRETT STEELE / PAPILLON AND THE OTHER HALF
Herzliche Einladung zu den Veranstaltungen der Städelschule!
END-OF-YEAR EVENTS
9th - 10th July 2009
Deutsches Architekturmuseum - DAM
Schaumainkai 43
Frankfurt am Main
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The End-of-Year Events of the Architecture Class provide a series of exciting opportunities for visiting the Städelschule Architecture Class (SAC) where stimulating discussions about architecture will be taking place. For these events, SAC is proud to host a variety of world-class theorists and architects some of whom include: Brett Steele, the director of AA, London; Mark Wigley, dean and professor of architecture at Columbia University; Professor Beatriz Colomina of Princeton University; Peter Cachola Schmal, director of Deutsches Architekturmuseum; Professor Achim Menges of Stuttgart University and Frank Barkow of Barkow Leibinger Architekten. These distinguished guests join the faculty of SAC which includes: Daniel Birnbaum, rector and professor of the Städelschule, Professor Ben van Berkel, Professor Johan Bettum, Professor Nikolaus Hirsch, Lars Nixdorff, Sigurdur Gunnarsson, Professor Klaus Bollinger, Professor Manfred Grohmann, Dr.-Ing. Oliver Tessmann and Agnes Weilandt.
Review of the Research and Experiments by the First Year Group
Thursday, 10th July, 12h, DAM
The work of the first year students comprises of research and experiments that are based on their respective analysis of a selected pavilion from the recent history of architecture. From their investigations, the students have derived individual topics and thematic foci which have then been developed through a series of modelling experiments. The results of these are being presented in respect to their implications for architecture.
Diploma Thesis Review
Friday, 10th July, 10h, DAM
The Diploma Thesis project revolves around the design of an “Art Hostel” for Inhotim Centro de Arte Contemporanea, Belo Horizonte, Brazil. The museum is one of the central institutions in Brazil for contemporary art and is intending to expand its services for visitors. This includes the plan to build a hostel that can cater for individual visitors and groups as much as form a programmatic connection to the local community. The thesis project proposals are the results of research and experiments conducted in the architecture class within the last two years.
Dean's Honorary Lecture: Brett Steele
& The Günter Bock Prize: First Year Prize for Excellent Work
Friday, 10th July, 16:30h, DAM
This year the Dean’s Honorary Lecture will be delivered by Brett Steele, the director of the Architectural Association (AA) in London, one of the most prestigious architectural schools in the world. Since taking up the role, Steele has consolidated the role of the school as a hub for the exchange and production of architectural knowledge and invention reflecting current cultural trends in the Western world. Steele’s honorary lecture follows those of Greg Lynn (2008), Mohsen Mostafavi (2007) and Mark Wigley (2006). With the series, the dean of SAC seeks to pay personal tribute to and honour outstanding individuals for their role and achievements in architecture.
For the third year in a row, the Günter Bock Prize will be awarded to a student in the First Year Group whose general performance and portfolio is considered outstanding. The prize is named after the previous leader of the Architecture Class, the Frankfurt-architect Günter Bock (1918-2002) and the sum of 4500 Euros is supplied by the Lions Club Frankfurt Flughafen. The prize jury is comprised of the mentioned projects review panel, headed by Professor Ben van Berkel.
"Papillon and the Other Half"
im Rahmen der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur"
Eröffnung: Freitag, 10. Juli, 19 Uhr
Ausstellungsdauer: 11. Juli – 20. September
Temporäre Architektur ist nicht nur experimentelles Denken und Konstruieren, sondern immer auch Bauen für klimatisch warme und gemäßigte Jahreszeiten. Passend zum Sommer widmet sich das Deutsche Architekturmuseum in der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur" ganz dem Thema Pavillonarchitektur. Als ein paradigmatisches Beispiel wird der DAM-Pavillon von Barkow Leibinger Architekten und Werner Sobek Ingenieuren vorgestellt.
Im zweiten Teil der Schau unternimmt die Städelschule Architecture Class (SAC), einen einzigartigen Ausflug in die polemische Welt der architektonischen Pavillons. Die Präsentation eigens für die Ausstellung hergestellter Modelle erlaubt neue und außergewöhnliche Blicke auf bekannte Pavillons der jüngeren Architekturgeschichte. Moderne Klassiker von Le Corbusier, Mies van der Rohe, Gerrit Rietveld und Frei Otto treffen auf zeitgenössische Pavillons von Toyo Ito, David Adjaye, Álvaro Siza und Diller + Scofidio. Die Studierenden der SAC zeigen ihre Modellentwürfe und Forschungsergebnisse auf einer eigens dafür entworfenen dreidimensionalen Wandmatrix – „the Papillon“.
Zur Ausstellung erscheint im Hatje Cantz Verlag die reich bebilderte Publikation „Der Pavillon – Lust und Polemik in der Architektur“ mit Essays von Frank Barkow, Barry Bergdoll, Ben van Berkel, Johan Bettum, Christian Brensing, Kerstin Bußmann, Beatriz Colomina, Nikolaus Hirsch, Werner Sobek und Wolfgang Sundermann.
In Zusammenarbeit mit Deutsches Architekturmuseum - DAM
END-OF-YEAR EVENTS
9th - 10th July 2009
Deutsches Architekturmuseum - DAM
Schaumainkai 43
Frankfurt am Main
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The End-of-Year Events of the Architecture Class provide a series of exciting opportunities for visiting the Städelschule Architecture Class (SAC) where stimulating discussions about architecture will be taking place. For these events, SAC is proud to host a variety of world-class theorists and architects some of whom include: Brett Steele, the director of AA, London; Mark Wigley, dean and professor of architecture at Columbia University; Professor Beatriz Colomina of Princeton University; Peter Cachola Schmal, director of Deutsches Architekturmuseum; Professor Achim Menges of Stuttgart University and Frank Barkow of Barkow Leibinger Architekten. These distinguished guests join the faculty of SAC which includes: Daniel Birnbaum, rector and professor of the Städelschule, Professor Ben van Berkel, Professor Johan Bettum, Professor Nikolaus Hirsch, Lars Nixdorff, Sigurdur Gunnarsson, Professor Klaus Bollinger, Professor Manfred Grohmann, Dr.-Ing. Oliver Tessmann and Agnes Weilandt.
Review of the Research and Experiments by the First Year Group
Thursday, 10th July, 12h, DAM
The work of the first year students comprises of research and experiments that are based on their respective analysis of a selected pavilion from the recent history of architecture. From their investigations, the students have derived individual topics and thematic foci which have then been developed through a series of modelling experiments. The results of these are being presented in respect to their implications for architecture.
Diploma Thesis Review
Friday, 10th July, 10h, DAM
The Diploma Thesis project revolves around the design of an “Art Hostel” for Inhotim Centro de Arte Contemporanea, Belo Horizonte, Brazil. The museum is one of the central institutions in Brazil for contemporary art and is intending to expand its services for visitors. This includes the plan to build a hostel that can cater for individual visitors and groups as much as form a programmatic connection to the local community. The thesis project proposals are the results of research and experiments conducted in the architecture class within the last two years.
Dean's Honorary Lecture: Brett Steele
& The Günter Bock Prize: First Year Prize for Excellent Work
Friday, 10th July, 16:30h, DAM
This year the Dean’s Honorary Lecture will be delivered by Brett Steele, the director of the Architectural Association (AA) in London, one of the most prestigious architectural schools in the world. Since taking up the role, Steele has consolidated the role of the school as a hub for the exchange and production of architectural knowledge and invention reflecting current cultural trends in the Western world. Steele’s honorary lecture follows those of Greg Lynn (2008), Mohsen Mostafavi (2007) and Mark Wigley (2006). With the series, the dean of SAC seeks to pay personal tribute to and honour outstanding individuals for their role and achievements in architecture.
For the third year in a row, the Günter Bock Prize will be awarded to a student in the First Year Group whose general performance and portfolio is considered outstanding. The prize is named after the previous leader of the Architecture Class, the Frankfurt-architect Günter Bock (1918-2002) and the sum of 4500 Euros is supplied by the Lions Club Frankfurt Flughafen. The prize jury is comprised of the mentioned projects review panel, headed by Professor Ben van Berkel.
"Papillon and the Other Half"
im Rahmen der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur"
Eröffnung: Freitag, 10. Juli, 19 Uhr
Ausstellungsdauer: 11. Juli – 20. September
Temporäre Architektur ist nicht nur experimentelles Denken und Konstruieren, sondern immer auch Bauen für klimatisch warme und gemäßigte Jahreszeiten. Passend zum Sommer widmet sich das Deutsche Architekturmuseum in der Ausstellung "Der Pavillon – Lust und Polemik in der Architektur" ganz dem Thema Pavillonarchitektur. Als ein paradigmatisches Beispiel wird der DAM-Pavillon von Barkow Leibinger Architekten und Werner Sobek Ingenieuren vorgestellt.
Im zweiten Teil der Schau unternimmt die Städelschule Architecture Class (SAC), einen einzigartigen Ausflug in die polemische Welt der architektonischen Pavillons. Die Präsentation eigens für die Ausstellung hergestellter Modelle erlaubt neue und außergewöhnliche Blicke auf bekannte Pavillons der jüngeren Architekturgeschichte. Moderne Klassiker von Le Corbusier, Mies van der Rohe, Gerrit Rietveld und Frei Otto treffen auf zeitgenössische Pavillons von Toyo Ito, David Adjaye, Álvaro Siza und Diller + Scofidio. Die Studierenden der SAC zeigen ihre Modellentwürfe und Forschungsergebnisse auf einer eigens dafür entworfenen dreidimensionalen Wandmatrix – „the Papillon“.
Zur Ausstellung erscheint im Hatje Cantz Verlag die reich bebilderte Publikation „Der Pavillon – Lust und Polemik in der Architektur“ mit Essays von Frank Barkow, Barry Bergdoll, Ben van Berkel, Johan Bettum, Christian Brensing, Kerstin Bußmann, Beatriz Colomina, Nikolaus Hirsch, Werner Sobek und Wolfgang Sundermann.
In Zusammenarbeit mit Deutsches Architekturmuseum - DAM
Freitag, 26. Juni 2009
BORIS GROYS / FRIEDRICH WOLFRAM HEUBACH / DIEDRICH DIEDERICHSEN
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Boris Groys: Politics of Installation
Wednesday, 1st July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
In “Politics of Installation”, Boris Groys considers the multilayered nature of the artist's sovereign will and the challenge posed to it by the fundamental act of exhibiting work to the public. Here, within the modernist notion of absolute artistic sovereignty, he identifies a short-circuit in the Western conception of freedom. This is simply because, in exhibiting work to the public (in the name of the public), the artist effectively justifies the place of his or her work in public discourse. The artwork's sovereignty is, in a sense, limited by the same process that allows it to exist as such. In order to recover this lost agency, Groys finds in installation practice a public space in which the artist's sovereign will can be reclaimed.
Boris Groys, Professor of Aesthetics, Art History, and Media Theory at HfG Karlsruhe and Global Professor at New York University, is a philosopher, art critic, curator, and media theorist. He published numerous books including „The Total Art of Stalinism“ (Princeton, 1992), „Über das Neue. Versuch einer Kulturökonomie“ (München, 1992), and “Art Power” (Cambridge, 2008), and “Thinking in Loop. Three video lectures” (Karlsruhe/Ostfildern 2008). He has curated the exhibitions “Dream Factory Communism” (Schirn Kunsthalle, 2004), “Privatisations”, at the KW (Berlin, 2004), “Total Enlightenment. Conceptual Art in Moscow 1960-1990” (Schirn, 2008) and “Medium Religion” (with Peter Weibel) at the ZKM (2009).
Friedrich Wolfram Heubach: Zur allgemeinen Debilisierung der Gesellschaft unter besonderer Berücksichtigung des Kunstbetriebs
Donnerstag, 2. Juli, 19 Uhr, Aula
Es wird zur Sprache kommen, wovon der Titel handelt.
Friedrich Wolfram Heubach gründete 1968 die legendäre Kunst/Künstler-Zeitschrift >interfunktionen<, deren Herausgeber er bis 1972 war; Nach der Habilitation im Fach Psychologie unterrichtete er bis 1989 an der Universität zu Köln und bis 1992 an der Hochschule für Bildende Künste, Hamburg; anschließend wechselte er auf den Lehrstuhl für Psychologie an der Kunstakademie Düsseldorf.
Seine wohl bekanntesten Veröffentlichungen sind (u.a.): Das bedingte Leben - Theorie der psychologischen Gegenständlichkeit der Dinge (München 1987) und Ein Bild und sein Schatten - Zum Bild der Melancholie und zur Erscheinung der Depression (Bonn 1996).
Diedrich Diederichsen: The Time and Space of Judgment
Friday, 3rd July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
This lecture addresses different concepts of criticism and distinguishes between 1) an endless processual criticality, 2) clear normative judgments and 3) a third version of criticism that can be traced back to those types of judgmental behaviors that deal with time-related events as in sport, music or other areas.
Diedrich Diederichsen is professor of Theorie, Praxis und Vermittlung von Gegenwartskunst of the Academy of Fine Arts Vienna.
Boris Groys: Politics of Installation
Wednesday, 1st July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
In “Politics of Installation”, Boris Groys considers the multilayered nature of the artist's sovereign will and the challenge posed to it by the fundamental act of exhibiting work to the public. Here, within the modernist notion of absolute artistic sovereignty, he identifies a short-circuit in the Western conception of freedom. This is simply because, in exhibiting work to the public (in the name of the public), the artist effectively justifies the place of his or her work in public discourse. The artwork's sovereignty is, in a sense, limited by the same process that allows it to exist as such. In order to recover this lost agency, Groys finds in installation practice a public space in which the artist's sovereign will can be reclaimed.
Boris Groys, Professor of Aesthetics, Art History, and Media Theory at HfG Karlsruhe and Global Professor at New York University, is a philosopher, art critic, curator, and media theorist. He published numerous books including „The Total Art of Stalinism“ (Princeton, 1992), „Über das Neue. Versuch einer Kulturökonomie“ (München, 1992), and “Art Power” (Cambridge, 2008), and “Thinking in Loop. Three video lectures” (Karlsruhe/Ostfildern 2008). He has curated the exhibitions “Dream Factory Communism” (Schirn Kunsthalle, 2004), “Privatisations”, at the KW (Berlin, 2004), “Total Enlightenment. Conceptual Art in Moscow 1960-1990” (Schirn, 2008) and “Medium Religion” (with Peter Weibel) at the ZKM (2009).
Friedrich Wolfram Heubach: Zur allgemeinen Debilisierung der Gesellschaft unter besonderer Berücksichtigung des Kunstbetriebs
Donnerstag, 2. Juli, 19 Uhr, Aula
Es wird zur Sprache kommen, wovon der Titel handelt.
Friedrich Wolfram Heubach gründete 1968 die legendäre Kunst/Künstler-Zeitschrift >interfunktionen<, deren Herausgeber er bis 1972 war; Nach der Habilitation im Fach Psychologie unterrichtete er bis 1989 an der Universität zu Köln und bis 1992 an der Hochschule für Bildende Künste, Hamburg; anschließend wechselte er auf den Lehrstuhl für Psychologie an der Kunstakademie Düsseldorf.
Seine wohl bekanntesten Veröffentlichungen sind (u.a.): Das bedingte Leben - Theorie der psychologischen Gegenständlichkeit der Dinge (München 1987) und Ein Bild und sein Schatten - Zum Bild der Melancholie und zur Erscheinung der Depression (Bonn 1996).
Diedrich Diederichsen: The Time and Space of Judgment
Friday, 3rd July, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
This lecture addresses different concepts of criticism and distinguishes between 1) an endless processual criticality, 2) clear normative judgments and 3) a third version of criticism that can be traced back to those types of judgmental behaviors that deal with time-related events as in sport, music or other areas.
Diedrich Diederichsen is professor of Theorie, Praxis und Vermittlung von Gegenwartskunst of the Academy of Fine Arts Vienna.
Freitag, 19. Juni 2009
DANIEL BIRNBAUM / MARIE ANGE BRAYER
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Daniel Birnbaum: The Critic and the Curator
Wednesday, 24th June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
What is the role of the art critic today? What is the role of the curator? Daniel Birnbaum gives some examples from recent projects.
Beside his rectorship and teaching at the Städelschule and his curatorial practice as director of Portikus Daniel Birnbaum has been involved in several biennials in recent years: in the 50th Venice Biennale, the Moscow Biennials and as a committee member of the International Foundation Manifesta. In 2008, he was co-curator of the Triennial of Yokohama and curator of the 2nd Triennial of Turin. In the period between 2006 and 2007, he co-curated Airs de Paris at the Centre Pompidou and of Uncertain States of America (with Hans-Ulrich Obrist) at Bard College of London’s Serpentine Gallery. A contributing editor of Artforum, he has published numerous books and essays on philosophy and art, including The Hospitality of Presence: Problems of Otherness in Husserl’s Phenomenology (1998), and, with Carsten Höller, Production (2000). His most recent publication is Chronology (2005) beside the numerous catalogues and publications in the framework of Städelschule and Portikus.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Marie Ange Brayer: Towards Machinic Environments: From Model to Machine
Thursday, 25th June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The conceptual practices that emerged in the 1960s through radical architecture in Europe were linked to a networked society in which architecture is no longer a built object, but becomes an environment with which the individual interacts. Within these radical movements, from Archigram to Superstudio, architecture is adapted to all scales, from domestic to urban, in the temporality of the instant and the action. Constant developed „New Babylon“ in which architecture has become an « atmospheric machine ». Today information technologies networks and computational design understand architecture as a dynamic environment. Architecture implements new concepts in a complex living system where a calculated, « machinic » nature has replaced the representational or allegorical nature of the “model”.
Since 1996, Marie-Ange Brayer has been the director of the Centre Regional Contemporary Art Collection [FRAC, Centre] in Orléans, France, where the collection is channeled towards the linkage between art and research architecture. The FRAC centre has been putting together a collection on architecture in its utopian and experimental dimension, from the 1950s until the present day. She has curated ARCHILAB (2001 and 2002) and the French Pavilion at the 8th International Architectural Biennale in Venice (2002). She is currently working on a PhD at the EHESS (School of Advanced Studies in the Social Sciences) in Paris, retracing the legal status of the architectural model since the Renaissance, by way of a history of representation ("A model object, the architectural maquette"). In 2008 she was a co-curator of the exhibition « Youniverse », 3rd International Biennial of Contemporary Art of Sevilla, curated by Peter Weibel.
Daniel Birnbaum: The Critic and the Curator
Wednesday, 24th June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
What is the role of the art critic today? What is the role of the curator? Daniel Birnbaum gives some examples from recent projects.
Beside his rectorship and teaching at the Städelschule and his curatorial practice as director of Portikus Daniel Birnbaum has been involved in several biennials in recent years: in the 50th Venice Biennale, the Moscow Biennials and as a committee member of the International Foundation Manifesta. In 2008, he was co-curator of the Triennial of Yokohama and curator of the 2nd Triennial of Turin. In the period between 2006 and 2007, he co-curated Airs de Paris at the Centre Pompidou and of Uncertain States of America (with Hans-Ulrich Obrist) at Bard College of London’s Serpentine Gallery. A contributing editor of Artforum, he has published numerous books and essays on philosophy and art, including The Hospitality of Presence: Problems of Otherness in Husserl’s Phenomenology (1998), and, with Carsten Höller, Production (2000). His most recent publication is Chronology (2005) beside the numerous catalogues and publications in the framework of Städelschule and Portikus.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Marie Ange Brayer: Towards Machinic Environments: From Model to Machine
Thursday, 25th June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The conceptual practices that emerged in the 1960s through radical architecture in Europe were linked to a networked society in which architecture is no longer a built object, but becomes an environment with which the individual interacts. Within these radical movements, from Archigram to Superstudio, architecture is adapted to all scales, from domestic to urban, in the temporality of the instant and the action. Constant developed „New Babylon“ in which architecture has become an « atmospheric machine ». Today information technologies networks and computational design understand architecture as a dynamic environment. Architecture implements new concepts in a complex living system where a calculated, « machinic » nature has replaced the representational or allegorical nature of the “model”.
Since 1996, Marie-Ange Brayer has been the director of the Centre Regional Contemporary Art Collection [FRAC, Centre] in Orléans, France, where the collection is channeled towards the linkage between art and research architecture. The FRAC centre has been putting together a collection on architecture in its utopian and experimental dimension, from the 1950s until the present day. She has curated ARCHILAB (2001 and 2002) and the French Pavilion at the 8th International Architectural Biennale in Venice (2002). She is currently working on a PhD at the EHESS (School of Advanced Studies in the Social Sciences) in Paris, retracing the legal status of the architectural model since the Renaissance, by way of a history of representation ("A model object, the architectural maquette"). In 2008 she was a co-curator of the exhibition « Youniverse », 3rd International Biennial of Contemporary Art of Sevilla, curated by Peter Weibel.
Dienstag, 16. Juni 2009
CHRISTOPH MENKE / GEORGE L. LEGENDRE
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Talk
Christoph Menke: The Aesthetic Critique of Judgment
Response: Isabelle Graw/Daniel Loick
Wednesday, 17. June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
This talk will address the question of aesthetic judgment. It will shift the attention away from the usual fixation on criteria and focus instead on more fundamental questions, such as: what is the role of judgment in the aesthetic field? How do we judge in aesthetic matters and why do we judge at all? It is the aesthetic judgment itself that is presented as a problem full of paradoxes.
Christoph Menke is professor of philosophy at the University Frankfurt/Main. He is the author of seminal studies on aesthetic such as "Die Souveränität der Kunst: Ästhetische Erfahrung nach Adorno und Derrida" (1988) or "Die Gegenwart der Tragödie. Versuch über Urteil und Spiel" (2005). He also contributed to the debates around political philosophy, as with "Spiegelungen der Gleichheit" (2000) or "Philosophie der Menschenrechte" (2007). He regularly contributes to "Texte zur Kunst."
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
George L. Legendre: Surface Goodness
Thursday, 18. June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Exploring the intersection between spaces, mathematics, and computation, George L. Legendre has developed a body of work that oscillates around the notion of “surface”. The literal and metaphoric meanings of the “superficial”, statements of computer programming syntax, indexical poetry, mathematical asides and descriptions of nemmerically controlled fabrication processes – all of which offer the very same thing: the surface as object of knowledge.
George L. Legendre is a London-based architect and educator. He graduated from Harvard Graduate School of Design in 1994 and served as lecturer and Assistant Professor of Architecture at the GSD from 1995 to 2000. Prior to founding IJP Corporation (IJP), his London-based office, he was visiting Professor at the ETH Zurich (2001), Princeton University (2003-05), and the Architectural Association in London, where he served as Unit Master of Diploma Unit 5 (2002-2008). His practice has just completed Henderson Waves, a 1000-foot-long bridge located in Singapore. In 2007, the influential UK weekly Building Design elected the 3-year-old office as one of the top 5 practices in Britain led by principals under the age of 40.
The work of George L. Legendre has been featured worldwide, most recently as the cover feature of AA Files 57 (London 2007), Architectural Review, and Icon Magazine (both London 2008). A regularly published essayist, George L. Legendre has written IJP:The Book of Surfaces, as well as Bodyline: the End of our Meta-Mechanical Body, and a Critical essay in Mathematical Form: John Pickering and the Architecture of the Inversion Principle (all AA Publications, 2003-06).
Talk
Christoph Menke: The Aesthetic Critique of Judgment
Response: Isabelle Graw/Daniel Loick
Wednesday, 17. June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
This talk will address the question of aesthetic judgment. It will shift the attention away from the usual fixation on criteria and focus instead on more fundamental questions, such as: what is the role of judgment in the aesthetic field? How do we judge in aesthetic matters and why do we judge at all? It is the aesthetic judgment itself that is presented as a problem full of paradoxes.
Christoph Menke is professor of philosophy at the University Frankfurt/Main. He is the author of seminal studies on aesthetic such as "Die Souveränität der Kunst: Ästhetische Erfahrung nach Adorno und Derrida" (1988) or "Die Gegenwart der Tragödie. Versuch über Urteil und Spiel" (2005). He also contributed to the debates around political philosophy, as with "Spiegelungen der Gleichheit" (2000) or "Philosophie der Menschenrechte" (2007). He regularly contributes to "Texte zur Kunst."
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
George L. Legendre: Surface Goodness
Thursday, 18. June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Exploring the intersection between spaces, mathematics, and computation, George L. Legendre has developed a body of work that oscillates around the notion of “surface”. The literal and metaphoric meanings of the “superficial”, statements of computer programming syntax, indexical poetry, mathematical asides and descriptions of nemmerically controlled fabrication processes – all of which offer the very same thing: the surface as object of knowledge.
George L. Legendre is a London-based architect and educator. He graduated from Harvard Graduate School of Design in 1994 and served as lecturer and Assistant Professor of Architecture at the GSD from 1995 to 2000. Prior to founding IJP Corporation (IJP), his London-based office, he was visiting Professor at the ETH Zurich (2001), Princeton University (2003-05), and the Architectural Association in London, where he served as Unit Master of Diploma Unit 5 (2002-2008). His practice has just completed Henderson Waves, a 1000-foot-long bridge located in Singapore. In 2007, the influential UK weekly Building Design elected the 3-year-old office as one of the top 5 practices in Britain led by principals under the age of 40.
The work of George L. Legendre has been featured worldwide, most recently as the cover feature of AA Files 57 (London 2007), Architectural Review, and Icon Magazine (both London 2008). A regularly published essayist, George L. Legendre has written IJP:The Book of Surfaces, as well as Bodyline: the End of our Meta-Mechanical Body, and a Critical essay in Mathematical Form: John Pickering and the Architecture of the Inversion Principle (all AA Publications, 2003-06).
Dienstag, 2. Juni 2009
NINA MÖNTMANN
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Nina Möntmann: How Art Institutions Can Create a Sense of Belonging
Wednesday, 10 June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Nina Möntmann is a curator and writer who teaches as a Professor and Head of Department of Art Theory and the History of Ideas at the Royal University College of Fine Arts in Stockholm. From 2003 to 2006 she was Curator at the Nordic Institute for Contemporary Art (NIFCA) in Helsinki. She curated the Pavilion of the Republic of Armenia at the 52nd Biennial of Venice in 2007, the group exhibition „If we can’t get it together. Artists rethinking the (mal)function of communities“ for The Power Plant in Toronto (2008/09), and has been curatorial advisor for Manifesta 7 (2008). She is currently co-curating the „Jerusalem Show 2010“ together with Jack Persekian, and a new film project with Raqs Media Collective.
Möntmann is correspondent for Artforum, and contributed to Le Monde Diplomatique, Parachute, metropolis m, Frieze and others. Recent publications include „Manifesta 7 Companion Book“ (Rana Dasgupta, Nina Möntmann, Avi Pitchon eds., Milan 2008); „Art and its Institutions“ (London, Black Dog Publishing, 2006), Mapping a City (Nina Möntmann, Yilmaz Dziewior eds., Hatje Cantz, 2005), „Kunst als sozialer Raum“ (Walther König, Köln, 2002).
Nina Möntmann: How Art Institutions Can Create a Sense of Belonging
Wednesday, 10 June, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Nina Möntmann is a curator and writer who teaches as a Professor and Head of Department of Art Theory and the History of Ideas at the Royal University College of Fine Arts in Stockholm. From 2003 to 2006 she was Curator at the Nordic Institute for Contemporary Art (NIFCA) in Helsinki. She curated the Pavilion of the Republic of Armenia at the 52nd Biennial of Venice in 2007, the group exhibition „If we can’t get it together. Artists rethinking the (mal)function of communities“ for The Power Plant in Toronto (2008/09), and has been curatorial advisor for Manifesta 7 (2008). She is currently co-curating the „Jerusalem Show 2010“ together with Jack Persekian, and a new film project with Raqs Media Collective.
Möntmann is correspondent for Artforum, and contributed to Le Monde Diplomatique, Parachute, metropolis m, Frieze and others. Recent publications include „Manifesta 7 Companion Book“ (Rana Dasgupta, Nina Möntmann, Avi Pitchon eds., Milan 2008); „Art and its Institutions“ (London, Black Dog Publishing, 2006), Mapping a City (Nina Möntmann, Yilmaz Dziewior eds., Hatje Cantz, 2005), „Kunst als sozialer Raum“ (Walther König, Köln, 2002).
Mittwoch, 27. Mai 2009
DAN GRAHAM / JESKO FEZER
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Ausstellung
Dan Graham presents New Jersey
Eröffnung: Freitag 29. Mai, 20 Uhr, Portikus
Ausstellungsdauer: 30. Mai - 12 Juli 2009
Die Ausstellung im Portikus - Dan Graham Presents New Jersey - zeigt neue Fotografien Dan Grahams, die 2006 in Kollaboration mit dem Architekturlehrstuhl der Columbia University in New York entstanden sind, Seite an Seite mit Fotografien aus seiner Serie Homes for America aus dem Jahr 1966. Bereits in den frühen 1960er Jahren entstanden letztere, bewusst im Stil eines Amateurs oder Photojournalisten, mit einer preiswerten und handlichen Kodak Kamera aufgenommene Bilder suburbaner Wohnhäuser, Gewerbeanlagen und städtischer Randzonen in New Jersey – Orte die das gewöhnliche und unspektakuläre, aber auch uniforme Amerika zeigen. Die Beschäftigung mit dem Seriellen, mit Standardisierung und Kontinuität stehen bei sowohl den älteren, als auch den jüngeren Fotografien im Mittelpunkt. Das wiederkehrende Interesse an der Aufwertung des Alltäglichen findet hier präzise Form, gebunden an Fragen nach der individuellen Wahrnehmung von sozialem Raum und Raumbildung durch soziale Gruppen.
Dan Graham wurde 1942 in Urbana, Illinois geboren und wuchs zeitweilig im Bundesstaat New Jersey auf. Er lebt und arbeitet in New York.
Lecture
Dan Graham presents New Jersey
Sunday, 31st May, 17 h, Portikus
Die Veranstaltung findet in englischer Sprache statt.
Dan Graham’s art is concerned with complex issues of cultural ideologies and ordering principles, with the reflection on the question related to the autonomy of the artwork playing a significant role. Urban surfaces, architectural décor and the discourse on forms, in general, are at the fore of his considerations. He always makes reference to concrete elements of everyday culture, combining minimalist forms with playful humor. He is also strongly dedicated to the relation of the subject to postmodern developments and architectures.
Dan Graham’s career as an artist did not progress in the classical sense. In 1964 he founded the John Daniels Gallery with friends, where the first shows of Dan Flavin and Sol LeWitt, among others, were on view. A year later, after the gallery was closed, Graham began with his own artistic work. From the very start, his artistic career was shaped in a very interdisciplinary way, since he simultaneously worked as a music journalist, photographer, art theorist, and culture critic.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Jesko Fezer: Design Problem Reality
Tuesday, 02. June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
If anyone out there still believes that architects are people with strong mathematical skills who build houses (and there are many who do) then they should look out for Jesko Fezer. Being active as a publisher, curator, artist, and exhibition designer Berlin-based Fezer renegotiates the traditional media of architecture. He is the co-founder and manager of the thematic bookshop “Pro qm” in Berlin and the co-editor of the political architecture magazine “An Architektur” which also initiated the international “Camp for Oppositional Architecture” in Berlin and Utrecht. In the frame of his cooperation “ifau und Jesko Fezer” he realized projects in Munich, Stuttgart, Berlin, Utrecht, Graz, New York und London. Having taught at various universities, he was a visiting professor for Urban Research in the master’s degree course at the Academy of Fine Arts in Nuremberg and currently leads the research project “Civic City” at the ZHDK in Zürich.
Fezer´s publications include „Hier entsteht. Strategien partizipativer Architektur“, „Lucius Burckhardt: Wer plant die Planung?“, „Planungsmethodik gestern“. He has curated the exhibitions “Urban Conditions” at the 3rd Berlin Biennial (2004), „Social Diagrams. Planning reconsidered” (Künstlerhaus Stuttgart, 2008), “In the Desert of Modernity. Colonias Planung and After“ (Haus der Kulturen der Welt, Berlin, 2008).
Ausstellung
Dan Graham presents New Jersey
Eröffnung: Freitag 29. Mai, 20 Uhr, Portikus
Ausstellungsdauer: 30. Mai - 12 Juli 2009
Die Ausstellung im Portikus - Dan Graham Presents New Jersey - zeigt neue Fotografien Dan Grahams, die 2006 in Kollaboration mit dem Architekturlehrstuhl der Columbia University in New York entstanden sind, Seite an Seite mit Fotografien aus seiner Serie Homes for America aus dem Jahr 1966. Bereits in den frühen 1960er Jahren entstanden letztere, bewusst im Stil eines Amateurs oder Photojournalisten, mit einer preiswerten und handlichen Kodak Kamera aufgenommene Bilder suburbaner Wohnhäuser, Gewerbeanlagen und städtischer Randzonen in New Jersey – Orte die das gewöhnliche und unspektakuläre, aber auch uniforme Amerika zeigen. Die Beschäftigung mit dem Seriellen, mit Standardisierung und Kontinuität stehen bei sowohl den älteren, als auch den jüngeren Fotografien im Mittelpunkt. Das wiederkehrende Interesse an der Aufwertung des Alltäglichen findet hier präzise Form, gebunden an Fragen nach der individuellen Wahrnehmung von sozialem Raum und Raumbildung durch soziale Gruppen.
Dan Graham wurde 1942 in Urbana, Illinois geboren und wuchs zeitweilig im Bundesstaat New Jersey auf. Er lebt und arbeitet in New York.
Lecture
Dan Graham presents New Jersey
Sunday, 31st May, 17 h, Portikus
Die Veranstaltung findet in englischer Sprache statt.
Dan Graham’s art is concerned with complex issues of cultural ideologies and ordering principles, with the reflection on the question related to the autonomy of the artwork playing a significant role. Urban surfaces, architectural décor and the discourse on forms, in general, are at the fore of his considerations. He always makes reference to concrete elements of everyday culture, combining minimalist forms with playful humor. He is also strongly dedicated to the relation of the subject to postmodern developments and architectures.
Dan Graham’s career as an artist did not progress in the classical sense. In 1964 he founded the John Daniels Gallery with friends, where the first shows of Dan Flavin and Sol LeWitt, among others, were on view. A year later, after the gallery was closed, Graham began with his own artistic work. From the very start, his artistic career was shaped in a very interdisciplinary way, since he simultaneously worked as a music journalist, photographer, art theorist, and culture critic.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Jesko Fezer: Design Problem Reality
Tuesday, 02. June, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
If anyone out there still believes that architects are people with strong mathematical skills who build houses (and there are many who do) then they should look out for Jesko Fezer. Being active as a publisher, curator, artist, and exhibition designer Berlin-based Fezer renegotiates the traditional media of architecture. He is the co-founder and manager of the thematic bookshop “Pro qm” in Berlin and the co-editor of the political architecture magazine “An Architektur” which also initiated the international “Camp for Oppositional Architecture” in Berlin and Utrecht. In the frame of his cooperation “ifau und Jesko Fezer” he realized projects in Munich, Stuttgart, Berlin, Utrecht, Graz, New York und London. Having taught at various universities, he was a visiting professor for Urban Research in the master’s degree course at the Academy of Fine Arts in Nuremberg and currently leads the research project “Civic City” at the ZHDK in Zürich.
Fezer´s publications include „Hier entsteht. Strategien partizipativer Architektur“, „Lucius Burckhardt: Wer plant die Planung?“, „Planungsmethodik gestern“. He has curated the exhibitions “Urban Conditions” at the 3rd Berlin Biennial (2004), „Social Diagrams. Planning reconsidered” (Künstlerhaus Stuttgart, 2008), “In the Desert of Modernity. Colonias Planung and After“ (Haus der Kulturen der Welt, Berlin, 2008).
Mittwoch, 20. Mai 2009
SARAH MORRIS / CAROLYN CHRISTOV-BAKARGIEV
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Sarah Morris: If Direction is a Look
Tuesday, 26th May, Aula, 19h
Die Veranstaltung findet in englischer Sprache statt.
Sarah Morris is a painter and filmmaker who lives and works in New York and London. Her films include „Midtown“(1998), „Capital“(2001), Los Angeles (2004), „1972“ and „Beijing“ (2009). She has participated in numerous group exhibitions including the 4th Site Santa Fe Biennial (2001), 25th São Paolo Biennial (2002) and „Days Like These“, Tate Triennial (2003). Solo shows include Nationalgalerie im Hamburger Bahnhof, Berlin (2001), Kunstforeningen, Copenhagen (2004), Moderna Museet, Stockholm (2005), Palais de Tokyo, Paris (2005), Kestner Gesellschaft, Hannover (2005) and Museum Boijmans van Beuningen, Rotterdam (2006). Her most recent exhibition „Gemini Dressage“ (including the European premiere of her latest film “Beijing”) will be on show at MMK in Frankfurt am Main.
Carolyn Christov-Bakargiev: Che fare? What has to be done?
Thursday, 28th May, Aula, 19h
Die Veranstaltung findet in englischer Sprache statt.
In her lecture at the Städelschule newly appointed Documenta director Carolyn Christov-Bakargiev asks „Che fare? What has to be done?“. Referring to her curatorial practice she investigates the current condition of the visual arts and its consequences on exhibition making.
Carolyn Christov-Bakargiev is a curator and writer based in Rome, Turin and New York. She is currently the Chief Curator at the Castello di Rivoli Museum of Contemporary Art in Turin and was the Artistic Director for the 16th Biennale of Sydney “Titled Revolutions – Forms That Turn” in 2008. From 1999 to 2001 she was Senior Curator of exhibitions at P.S.1 Contemporary Art Center. She curated the first retrospective exhibition of Janet Cardiff’s works (PS1, 2001), “Matrix.2” by Francis Alÿs, the group show “The Moderns / I Moderni” (2003), a survey exhibition of works by William Kentridge (2004), and “The Pantagruel Syndrome” (2005).
Sarah Morris: If Direction is a Look
Tuesday, 26th May, Aula, 19h
Die Veranstaltung findet in englischer Sprache statt.
Sarah Morris is a painter and filmmaker who lives and works in New York and London. Her films include „Midtown“(1998), „Capital“(2001), Los Angeles (2004), „1972“ and „Beijing“ (2009). She has participated in numerous group exhibitions including the 4th Site Santa Fe Biennial (2001), 25th São Paolo Biennial (2002) and „Days Like These“, Tate Triennial (2003). Solo shows include Nationalgalerie im Hamburger Bahnhof, Berlin (2001), Kunstforeningen, Copenhagen (2004), Moderna Museet, Stockholm (2005), Palais de Tokyo, Paris (2005), Kestner Gesellschaft, Hannover (2005) and Museum Boijmans van Beuningen, Rotterdam (2006). Her most recent exhibition „Gemini Dressage“ (including the European premiere of her latest film “Beijing”) will be on show at MMK in Frankfurt am Main.
Carolyn Christov-Bakargiev: Che fare? What has to be done?
Thursday, 28th May, Aula, 19h
Die Veranstaltung findet in englischer Sprache statt.
In her lecture at the Städelschule newly appointed Documenta director Carolyn Christov-Bakargiev asks „Che fare? What has to be done?“. Referring to her curatorial practice she investigates the current condition of the visual arts and its consequences on exhibition making.
Carolyn Christov-Bakargiev is a curator and writer based in Rome, Turin and New York. She is currently the Chief Curator at the Castello di Rivoli Museum of Contemporary Art in Turin and was the Artistic Director for the 16th Biennale of Sydney “Titled Revolutions – Forms That Turn” in 2008. From 1999 to 2001 she was Senior Curator of exhibitions at P.S.1 Contemporary Art Center. She curated the first retrospective exhibition of Janet Cardiff’s works (PS1, 2001), “Matrix.2” by Francis Alÿs, the group show “The Moderns / I Moderni” (2003), a survey exhibition of works by William Kentridge (2004), and “The Pantagruel Syndrome” (2005).
Freitag, 15. Mai 2009
SARAH THORNTON
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Talk:
Sarah Thornton: Seven Days in the Art World
With Julia Voss (FAZ) and Nikolaus Hirsch (Städelschule)
Tuesday, 19th May, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Seven Days in the Art World by Sarah Thornton is an ethnography and a social history of the recent past. Set in New York, Los Angeles, London, Basel, Venice, and Tokyo, the book is populated by characters who espouse conflicting definitions of art. Some see it as a luxury good or entertainment, others view it as an intellectual calling, a job description, or a kind of alternative religion.
The Canadian Sarah Thornton has a BA in Art History and made her PhD in Sociology on Club Cultures: Music, Media and Subcultural Capital. Once a member of faculty at Sussex University where she ran the MA in Media Studies, Thornton then became a Visiting Research Fellow at Goldsmiths, University of London. As a freelance journalist and author she contributes on regularly basis amongst others to The Economist, Artforum, The Art Newspaper, and The New Yorker.
Julia Voss is co-editor (with Niklas Maak) of the art department of Frankfurter Allgemeine Zeitung.
Nikolaus Hirsch is currently guest professor for Art and Architecture at the Städelschule and host of the lecture series.
In cooperation with the S. Fischer Verlag, Frankfurt am Main.
Die Vorlesung von Boris Groys über Politics of Installation ist verschoben auf Mittwoch, 1. Juli 2009.
The lecture by Boris Groys on Politics of Installation is postponed to Wednesday, July 1st 2009.
Talk:
Sarah Thornton: Seven Days in the Art World
With Julia Voss (FAZ) and Nikolaus Hirsch (Städelschule)
Tuesday, 19th May, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Seven Days in the Art World by Sarah Thornton is an ethnography and a social history of the recent past. Set in New York, Los Angeles, London, Basel, Venice, and Tokyo, the book is populated by characters who espouse conflicting definitions of art. Some see it as a luxury good or entertainment, others view it as an intellectual calling, a job description, or a kind of alternative religion.
The Canadian Sarah Thornton has a BA in Art History and made her PhD in Sociology on Club Cultures: Music, Media and Subcultural Capital. Once a member of faculty at Sussex University where she ran the MA in Media Studies, Thornton then became a Visiting Research Fellow at Goldsmiths, University of London. As a freelance journalist and author she contributes on regularly basis amongst others to The Economist, Artforum, The Art Newspaper, and The New Yorker.
Julia Voss is co-editor (with Niklas Maak) of the art department of Frankfurter Allgemeine Zeitung.
Nikolaus Hirsch is currently guest professor for Art and Architecture at the Städelschule and host of the lecture series.
In cooperation with the S. Fischer Verlag, Frankfurt am Main.
Die Vorlesung von Boris Groys über Politics of Installation ist verschoben auf Mittwoch, 1. Juli 2009.
The lecture by Boris Groys on Politics of Installation is postponed to Wednesday, July 1st 2009.
Mittwoch, 13. Mai 2009
RIVANE NEUENSCHWANDER / SYLVIA LAVIN
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Rivane Neuenschwander:
Misunderstanding
Wednesday, 13th May, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Rivane Neuenschwander's art has the precisely orchestrated, unforced economy of what she has termed "ethereal materialism". Often apparent is her fascination with serendipity and the agency of living systems, such as garden snails that munch away at rice-paper squares or ants that orchestrate a parade of confetti dots. The activation of sensory memory and trusting the realization of her work to the generosity of other people or nonhuman organisms frequently sparks Neuschwander's work to life. In I Wish Your Wish, the artist invites viewers to select a ribbon imprinted with a wish and leave behind a wish of their own. The ribbon can be tied to the wrist and worn until it falls off at which point the wish may be realized. Another work, the video Pangaea (2008), takes its title from the vast land mass that existed on earth about 250 million years ago, before this "supercontinent" broke apart into the land masses we know today. Neuenschwander used a stop-frame animation technique to record hundreds of ants as they crawled over and ate a plate of carpaccio meat, giving the viewer the sense that these tiny insects are moving and shaping an evolving map of the world.
Rivane Neuenschwander lives and works in Belo Horizonte (Brazil). Her work was shown in major group exhibitions such as the Venice Biennale 2005, São Paulo Biennale 2008, „Life on Mars“ at the Carnegie Museum of Art in Pittsburgh (2008) and „50 Moons of Saturn“ (Torino Triennale, 2008). Her solo shows include „Spell“ at Portikus (2001), „Suspension Point“ at Sounth London Gallery (2008), and „To/From: Rivane Neuenschwander“ at the Walker Art Center in Minneapolis (2008).
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Sylvia Lavin:
Kissing Architecture. Super-Disciplinarity and Confounding Media
Thursday, 14th May, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Sylvia Lavin is Professor of Architectural History and Theory at UCLA, where she was Chairperson from 1996 to 2006. Currently, she is Visiting Professor of Architectural Theory at Princeton University's School of Architecture. A leading figure in current debates, Lavin is known both for her scholarship and for her criticism in contemporary architecture and design.
She has published „Quatremere de Quincy and the Invention of a Modern Language of Architecture“ (MIT Press, 1992) and „Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture“ (MIT Press, 2005). Her next book, „The Flash in the Pan and Other Forms of Architectural Contemporaneity“ will be published by MIT Press in 2009 and she is working on a series of exhibitions on design culture of the late 1960s. She is an editor of „Crib Sheets“, a compilation of polemical writings and sound bites on current buzzwords issued by Monacelli press.
Rivane Neuenschwander:
Misunderstanding
Wednesday, 13th May, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Rivane Neuenschwander's art has the precisely orchestrated, unforced economy of what she has termed "ethereal materialism". Often apparent is her fascination with serendipity and the agency of living systems, such as garden snails that munch away at rice-paper squares or ants that orchestrate a parade of confetti dots. The activation of sensory memory and trusting the realization of her work to the generosity of other people or nonhuman organisms frequently sparks Neuschwander's work to life. In I Wish Your Wish, the artist invites viewers to select a ribbon imprinted with a wish and leave behind a wish of their own. The ribbon can be tied to the wrist and worn until it falls off at which point the wish may be realized. Another work, the video Pangaea (2008), takes its title from the vast land mass that existed on earth about 250 million years ago, before this "supercontinent" broke apart into the land masses we know today. Neuenschwander used a stop-frame animation technique to record hundreds of ants as they crawled over and ate a plate of carpaccio meat, giving the viewer the sense that these tiny insects are moving and shaping an evolving map of the world.
Rivane Neuenschwander lives and works in Belo Horizonte (Brazil). Her work was shown in major group exhibitions such as the Venice Biennale 2005, São Paulo Biennale 2008, „Life on Mars“ at the Carnegie Museum of Art in Pittsburgh (2008) and „50 Moons of Saturn“ (Torino Triennale, 2008). Her solo shows include „Spell“ at Portikus (2001), „Suspension Point“ at Sounth London Gallery (2008), and „To/From: Rivane Neuenschwander“ at the Walker Art Center in Minneapolis (2008).
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Sylvia Lavin:
Kissing Architecture. Super-Disciplinarity and Confounding Media
Thursday, 14th May, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Sylvia Lavin is Professor of Architectural History and Theory at UCLA, where she was Chairperson from 1996 to 2006. Currently, she is Visiting Professor of Architectural Theory at Princeton University's School of Architecture. A leading figure in current debates, Lavin is known both for her scholarship and for her criticism in contemporary architecture and design.
She has published „Quatremere de Quincy and the Invention of a Modern Language of Architecture“ (MIT Press, 1992) and „Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture“ (MIT Press, 2005). Her next book, „The Flash in the Pan and Other Forms of Architectural Contemporaneity“ will be published by MIT Press in 2009 and she is working on a series of exhibitions on design culture of the late 1960s. She is an editor of „Crib Sheets“, a compilation of polemical writings and sound bites on current buzzwords issued by Monacelli press.
Donnerstag, 30. April 2009
TAKAHARU TEZUKA
Herzliche Einladung zu den Veranstaltungen der Städelschule!
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Takaharu Tezuka: Roof-less Architecture
Thursday, 7th May, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
“Roof House”, “Wall-less House” and “”Sky House” are the programmatic names of the projects of Tokyo-based Tezuka Architects. In their small-scale houses as much as in their large public buildings Takaharu and Yui Tezuka explore architecture as an elementary discipline that defines and removes physical boundaries. Boundaries such as roof, floor and wall become the basic media of an architecture that negotiates the relationship between the users and their environment. The Tezuka couple aim for a new definition of architecture: “Since any kind of form is possible in these days, futuristic appearance is not an issue anymore ... We are seeking a future beyond shape or form. The roof is the most basic element of architecture. Anything with a roof can be called architecture.“
The projects of Tezuka Architects include the Museum of Natural Science in Matsunoyama, the pavilion for the Hakone Open-Air Museum, Visionary Arts in Tokyo, Thin Wall Office HQ#01, and the Open Houses 1 to 11. Since 2003 Takaharu Tezuka is an Associate Professor at Musashi Institute of Technology. In 2005 and 2006 he has taught at Salzburg Summer Academy and in 2006 he was a Visiting Professor at University of California, Berkeley. His work has been shown in numerous exhibitions such as at Archilab held in Orléans (2002) and currently at the German Architecture Museum (DAM) in Frankfurt.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Takaharu Tezuka: Roof-less Architecture
Thursday, 7th May, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
“Roof House”, “Wall-less House” and “”Sky House” are the programmatic names of the projects of Tokyo-based Tezuka Architects. In their small-scale houses as much as in their large public buildings Takaharu and Yui Tezuka explore architecture as an elementary discipline that defines and removes physical boundaries. Boundaries such as roof, floor and wall become the basic media of an architecture that negotiates the relationship between the users and their environment. The Tezuka couple aim for a new definition of architecture: “Since any kind of form is possible in these days, futuristic appearance is not an issue anymore ... We are seeking a future beyond shape or form. The roof is the most basic element of architecture. Anything with a roof can be called architecture.“
The projects of Tezuka Architects include the Museum of Natural Science in Matsunoyama, the pavilion for the Hakone Open-Air Museum, Visionary Arts in Tokyo, Thin Wall Office HQ#01, and the Open Houses 1 to 11. Since 2003 Takaharu Tezuka is an Associate Professor at Musashi Institute of Technology. In 2005 and 2006 he has taught at Salzburg Summer Academy and in 2006 he was a Visiting Professor at University of California, Berkeley. His work has been shown in numerous exhibitions such as at Archilab held in Orléans (2002) and currently at the German Architecture Museum (DAM) in Frankfurt.
Freitag, 24. April 2009
JÜRG HALTER / HARUN FAROCKI
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Jürg Halter liest aus "Nichts, das mich hält"
Dienstag, 28. April, 19 Uhr, Aula
“Vor nicht allzu langer Zeit
trafen sich Suizid und Heldentod
in einer Konkurs gegangenen Bar
zum Gespräch über den Nutzen der Sehnsucht.”
Jürg Halter, erschienen am 23. Juni 1980 in Bern, wo er lebt. Studium an der dortigen Hochschule der Künste. Halter ist Dichter und man kennt ihn unter dem Namen Kutti MC auch als Mundart-Rapper. Bekannt wurde er durch seinen Debut-Gedichtband “Ich habe die Welt berührt” und durch Lesungen und Poetry Performances bei internationalen Literaturfestivals in Europa, Afrika und den USA.Mit seiner bestechend anschaulichen Sprache beweist Jürg Halter nicht zuletzt, daß sich weit jenseits des Lyrikzentrums Berlin eine Stimme erhoben hat, der es zuzuhören gilt. Neben dem Gedichtband “Nichts, das mich hält” (Ammann Verlag, 2008) erschien zuletzt von ihm das Spoken-Word-Hörbuch “Aber heute ist der Tag, an dem ich mehr als sprechen will” (Verlag Der Gesunde Menschenversand, 2007). Seit 2007 schreibt Halter zusammen mit dem bekannten japanischen Dichter Tanikawa Shuntaro an einem Lang-Gedicht (Renshi). Er arbeitete auch als Herausgeber der “art.21-zeitdruck” (1999 bis 2002), und ist Veranstalter u.a. von “words'n'beats” und “Tintensaufen”.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Harun Farocki: Shopping / Risk
Thursday, 30th April, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Shopping is an everyday cultural act, taken for granted, inevitable, yet the result of a highly complex planning process. On the occasion of his lecture at the Städelschule Harun Farocki will show –besides his film “Nothing Ventured“- the documentary „The Creators of Shopping Worlds“ (2001), a film that explores the work of architects, experience designers and executive managers in charge of the creation of today’s shopping malls. Farocki filmed business meetings at which professionals brooded over architectural plans, and ‘walk-through’ simulations that are intended to optimize the flow of consumer traffic and maximize the saturation of the shopper’s visual field with focus points designed to capture his or her attention.
The Berlin-based artist and film-maker Harun Farocki (born 1944 in Novy Jicen, Czechoslovakia) has produced over a hundred films and installations over the past 40 years: films that in their style and visual language do away with traditional genres and alternate between experiment, documentary and essay. Since producing the autobiographical video installation “Interface” for a group exhibition at the Musée d’art Villeneuve d’Ascq in Lille in 1995, Farocki – who is also active as an author, curator, teacher and as a screenwriter for the Berlin director Christian Petzold – has increasingly shown his work outside the cinema context in art institutions. Important stages were documenta X and documenta 12, where he showed “Still Life” in 1997 and “Deep Play” in 2007. His films have been shown in numerous retrospectives, such as at the Cinémathèque Française in Paris (2002) and MoMA in New York (2001). Since 2004 he teaches as a professor at the Academy of Fine Arts Vienna.
Jürg Halter liest aus "Nichts, das mich hält"
Dienstag, 28. April, 19 Uhr, Aula
“Vor nicht allzu langer Zeit
trafen sich Suizid und Heldentod
in einer Konkurs gegangenen Bar
zum Gespräch über den Nutzen der Sehnsucht.”
Jürg Halter, erschienen am 23. Juni 1980 in Bern, wo er lebt. Studium an der dortigen Hochschule der Künste. Halter ist Dichter und man kennt ihn unter dem Namen Kutti MC auch als Mundart-Rapper. Bekannt wurde er durch seinen Debut-Gedichtband “Ich habe die Welt berührt” und durch Lesungen und Poetry Performances bei internationalen Literaturfestivals in Europa, Afrika und den USA.Mit seiner bestechend anschaulichen Sprache beweist Jürg Halter nicht zuletzt, daß sich weit jenseits des Lyrikzentrums Berlin eine Stimme erhoben hat, der es zuzuhören gilt. Neben dem Gedichtband “Nichts, das mich hält” (Ammann Verlag, 2008) erschien zuletzt von ihm das Spoken-Word-Hörbuch “Aber heute ist der Tag, an dem ich mehr als sprechen will” (Verlag Der Gesunde Menschenversand, 2007). Seit 2007 schreibt Halter zusammen mit dem bekannten japanischen Dichter Tanikawa Shuntaro an einem Lang-Gedicht (Renshi). Er arbeitete auch als Herausgeber der “art.21-zeitdruck” (1999 bis 2002), und ist Veranstalter u.a. von “words'n'beats” und “Tintensaufen”.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Harun Farocki: Shopping / Risk
Thursday, 30th April, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Shopping is an everyday cultural act, taken for granted, inevitable, yet the result of a highly complex planning process. On the occasion of his lecture at the Städelschule Harun Farocki will show –besides his film “Nothing Ventured“- the documentary „The Creators of Shopping Worlds“ (2001), a film that explores the work of architects, experience designers and executive managers in charge of the creation of today’s shopping malls. Farocki filmed business meetings at which professionals brooded over architectural plans, and ‘walk-through’ simulations that are intended to optimize the flow of consumer traffic and maximize the saturation of the shopper’s visual field with focus points designed to capture his or her attention.
The Berlin-based artist and film-maker Harun Farocki (born 1944 in Novy Jicen, Czechoslovakia) has produced over a hundred films and installations over the past 40 years: films that in their style and visual language do away with traditional genres and alternate between experiment, documentary and essay. Since producing the autobiographical video installation “Interface” for a group exhibition at the Musée d’art Villeneuve d’Ascq in Lille in 1995, Farocki – who is also active as an author, curator, teacher and as a screenwriter for the Berlin director Christian Petzold – has increasingly shown his work outside the cinema context in art institutions. Important stages were documenta X and documenta 12, where he showed “Still Life” in 1997 and “Deep Play” in 2007. His films have been shown in numerous retrospectives, such as at the Cinémathèque Française in Paris (2002) and MoMA in New York (2001). Since 2004 he teaches as a professor at the Academy of Fine Arts Vienna.
Freitag, 17. April 2009
NINA KÖNNEMANN / MARK WIGLEY / PEACHES
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Nina Könnemann: Screening
Wednesday, 22nd April, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Nina Könnemann came to prominence above all with documentary videos like M.U.D. (2000), unrise (2001) and Pleasure Beach (2001) in which she takes an unmediated look at phenomena of the postmodern amusement society. Könnemann's work characteristically makes use of a hand-held camera that reacts to movements in the crowd, tracing their aimlessness and drawing the viewer into what is going on. In the show “Free Mumia” at Portikus, this fleeting point of view is brought to a standstill, focusing attention on objects which - in among a wealth of details and inessentials - could have appeared in the videos mentioned above. The exhibition in Portikus including two of her most recent videos Laughing Sailor (2008) and Cone (2008) is ongoing till 17th May.
Nina Könnemann was born in Bonn and studied at Hamburg Academy of Fine Arts.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Mark Wigley: Network Radicals: The Architecture of the Streaming City
Thursday, 23rd April, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Starting the summer semester lecture series on „Post-Medium Architecture“ Mark Wigley focuses on the “network” as a primary medium of contemporary architecture. Defining the architect as someone who does more than designing buildings but as public intellectual who speculates on possible new worlds, Wigley will - among others - refer to his research on a symposium on the evolution of human settlement that was held on the Greek urban planner Constantinos Doxiadis´ yacht „New Hellas“ and included Buckminster Fuller, Marshall McLuhan and thirty-two other protagonists.
Mark Wigley is the Dean of Columbia University's Graduate School of Architecture, Planning and Preservation, and also teaches as a Guest Professor at Städelschule Architecture Class. He curated „Deconstructivist Architecture“; he has also served as curator at The Museum of Modern Art, New York; The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Center for Contemporary Art, Rotterdam. An accomplished scholar and design teacher, he has written extensively on the theory and practice of architecture, and is the author of „The Architecture of Deconstruction: Derrida's Haunt“ (MIT Press, 1993); „White Walls, Designer Dresses: The Fashioning of Modern Architecture“ (MIT Press, 1995); and „Constant's New Babylon: The Hyper-Architecture of Desire“ (Uitgeverij 010, 1998). In addition to numerous essays on art and architecture, he co-edited, with Catherine de Zegher, „The Activist Drawing: Situationist Architectures From Constant's New Babylon to Beyond“ (MIT Press, 2001) and is one of the founding editors of Volume magazine.
Peaches: The Teaches of Peaches
Friday, 24th April, 19h, Hall
Die Veranstaltung findet in englischer Sprache statt.
“Do I dare to eat a peach?” – T.S. Eliot
„I first met Peaches in Berlin 2002 at the White Trash Fast Food Restaurant on a Sunday morning after being out a couple of days. Peaches was deejaying their premiere Sunday morning After Hours. I was with an old friend, he introduced us; we were WAY EARLY. As she was deejaying, I went and sat down with the only customer in the venue.
As I slung back the Vodka Cran's and talked this poor women's ear off, the entire time thinking: "who is she this Berliner Lady hangin' out by herself in this empty restaurant in a fur that her body has thoroughly succumb to?"
I stumbled off to the bar; then back via the deejay area to commend Peaches on the sheer vastness of her fan base. Peaches goes, "oh you met my Mom." Real calm and sweet as she is, no hint of surprise.
This snippet should prepare you all for the diversity she represents. We have no idea what she will do; none-the-less, I ain't worried.
You think you know Peaches? Wanna bet? “ - Eric D. Clark
Nina Könnemann: Screening
Wednesday, 22nd April, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Nina Könnemann came to prominence above all with documentary videos like M.U.D. (2000), unrise (2001) and Pleasure Beach (2001) in which she takes an unmediated look at phenomena of the postmodern amusement society. Könnemann's work characteristically makes use of a hand-held camera that reacts to movements in the crowd, tracing their aimlessness and drawing the viewer into what is going on. In the show “Free Mumia” at Portikus, this fleeting point of view is brought to a standstill, focusing attention on objects which - in among a wealth of details and inessentials - could have appeared in the videos mentioned above. The exhibition in Portikus including two of her most recent videos Laughing Sailor (2008) and Cone (2008) is ongoing till 17th May.
Nina Könnemann was born in Bonn and studied at Hamburg Academy of Fine Arts.
The Architecture Class presents:
Post-Medium Architecture – Public Lecture Series Summer Semester 2009
Mark Wigley: Network Radicals: The Architecture of the Streaming City
Thursday, 23rd April, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Starting the summer semester lecture series on „Post-Medium Architecture“ Mark Wigley focuses on the “network” as a primary medium of contemporary architecture. Defining the architect as someone who does more than designing buildings but as public intellectual who speculates on possible new worlds, Wigley will - among others - refer to his research on a symposium on the evolution of human settlement that was held on the Greek urban planner Constantinos Doxiadis´ yacht „New Hellas“ and included Buckminster Fuller, Marshall McLuhan and thirty-two other protagonists.
Mark Wigley is the Dean of Columbia University's Graduate School of Architecture, Planning and Preservation, and also teaches as a Guest Professor at Städelschule Architecture Class. He curated „Deconstructivist Architecture“; he has also served as curator at The Museum of Modern Art, New York; The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Center for Contemporary Art, Rotterdam. An accomplished scholar and design teacher, he has written extensively on the theory and practice of architecture, and is the author of „The Architecture of Deconstruction: Derrida's Haunt“ (MIT Press, 1993); „White Walls, Designer Dresses: The Fashioning of Modern Architecture“ (MIT Press, 1995); and „Constant's New Babylon: The Hyper-Architecture of Desire“ (Uitgeverij 010, 1998). In addition to numerous essays on art and architecture, he co-edited, with Catherine de Zegher, „The Activist Drawing: Situationist Architectures From Constant's New Babylon to Beyond“ (MIT Press, 2001) and is one of the founding editors of Volume magazine.
Peaches: The Teaches of Peaches
Friday, 24th April, 19h, Hall
Die Veranstaltung findet in englischer Sprache statt.
“Do I dare to eat a peach?” – T.S. Eliot
„I first met Peaches in Berlin 2002 at the White Trash Fast Food Restaurant on a Sunday morning after being out a couple of days. Peaches was deejaying their premiere Sunday morning After Hours. I was with an old friend, he introduced us; we were WAY EARLY. As she was deejaying, I went and sat down with the only customer in the venue.
As I slung back the Vodka Cran's and talked this poor women's ear off, the entire time thinking: "who is she this Berliner Lady hangin' out by herself in this empty restaurant in a fur that her body has thoroughly succumb to?"
I stumbled off to the bar; then back via the deejay area to commend Peaches on the sheer vastness of her fan base. Peaches goes, "oh you met my Mom." Real calm and sweet as she is, no hint of surprise.
This snippet should prepare you all for the diversity she represents. We have no idea what she will do; none-the-less, I ain't worried.
You think you know Peaches? Wanna bet? “ - Eric D. Clark
Donnerstag, 19. März 2009
NINA KÖNNEMANN
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Ausstellung:
Nina Könnemann: Free Mumia
Eröffnung: 27. März 2009, 20 Uhr, Portikus
Ausstellungsdauer: 28. März - 17. Mai 2009
Die Künstlerin Nina Könnemann ist vor allem durch dokumentarische Videos wie "M.U.D." (2000), "unrise" (2001) oder "Pleasure Beach" (2001) aufgefallen, in denen sie auf unmittelbare Weise Phänomene der postmodernen Vergnügungs-Gesellschaft beobachtet. Ähnlich der Tradition des kulturanthropologischen Arbeitens folgt ihre Kamera scheinbar zufällig Menschen im öffentlichen Raum oder steht unauffällig am Rand des Geschehens und zeichnet soziale Begegnungen auf. Dabei werden Muster gesellschaftlicher Interaktion in der Peripherie von Raves und anderen Großveranstaltungen freigelegt. Charakteristisch bei Könnemann ist das Filmen „aus der Hand“ das auf Bewegungen in der Masse reagiert, ihre Ziellosigkeit nachzeichnet und den Betrachter gleichzeitig in das Geschehen hineinzieht. In der Ausstellung im Portikus wird dieser flüchtige Blick angehalten. Drei Gegenstände, die in den oben genannten Videos inmitten einer Fülle von Details und Nebensachen hätten auftauchen können, werden in den Fokus gerückt.
Nina Könnemann wurde 1971 in Bonn geboren und studierte von 1992 - 1998 Kunst an der Hochschule für Bildende Künste in Hamburg.
Zur Ausstellung wird ein Katalog erscheinen.
Ausstellung:
Nina Könnemann: Free Mumia
Eröffnung: 27. März 2009, 20 Uhr, Portikus
Ausstellungsdauer: 28. März - 17. Mai 2009
Die Künstlerin Nina Könnemann ist vor allem durch dokumentarische Videos wie "M.U.D." (2000), "unrise" (2001) oder "Pleasure Beach" (2001) aufgefallen, in denen sie auf unmittelbare Weise Phänomene der postmodernen Vergnügungs-Gesellschaft beobachtet. Ähnlich der Tradition des kulturanthropologischen Arbeitens folgt ihre Kamera scheinbar zufällig Menschen im öffentlichen Raum oder steht unauffällig am Rand des Geschehens und zeichnet soziale Begegnungen auf. Dabei werden Muster gesellschaftlicher Interaktion in der Peripherie von Raves und anderen Großveranstaltungen freigelegt. Charakteristisch bei Könnemann ist das Filmen „aus der Hand“ das auf Bewegungen in der Masse reagiert, ihre Ziellosigkeit nachzeichnet und den Betrachter gleichzeitig in das Geschehen hineinzieht. In der Ausstellung im Portikus wird dieser flüchtige Blick angehalten. Drei Gegenstände, die in den oben genannten Videos inmitten einer Fülle von Details und Nebensachen hätten auftauchen können, werden in den Fokus gerückt.
Nina Könnemann wurde 1971 in Bonn geboren und studierte von 1992 - 1998 Kunst an der Hochschule für Bildende Künste in Hamburg.
Zur Ausstellung wird ein Katalog erscheinen.
Freitag, 6. Februar 2009
MAX BECKMANN / STÄDELSCHULE RUNDGANG 2009
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Max Beckmann – Lehrer an der Städelschule
Montag, 9. Februar, 19 Uhr, Halle
Anlässlich des 125. Geburtstags von Max Beckmann lädt die Städelschule zu einem Gespräch mit Mayen Beckmann und Klaus Gallwitz ein.
Beckmann lebte siebzehn Jahre in Frankfurt am Main und leitete von 1925 bis 1933 eine Meisterklasse an der Städelschule.
Begrüssung: Prof. Michael Krebber (Rektor)
Einleitung: Brigitte von Ribbentrop (Vorstand Städelschule Portikus e.V.)
Im Anschluss besteht in der Mensa die Möglichkeit zu einem Gedankenaustausch.
Rundgang 2009 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
Eröffnung mit Preisverleihung: Freitag, 13. Februar, 18 Uhr, Dürerstrasse 10
Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2008
Öffnungszeiten: 10 – 20 Uhr
Eintritt: Frei
Vom 13. bis zum 15. Februar präsentiert sich die Staatliche Hochschule für Bildende Künste – Städelschule wieder der interessierten Öffentlichkeit. Die etwa 160 Studierenden der Bildenden Kunst und Architektur der Klassen Christa Näher, Judith Hopf, Michael Krebber, Willem de Rooij, Mark Leckey, Ben van Berkel, Simon Starling und Tobias Rehberger zeigen ihre aktuellen Arbeiten während des gesamten Wochenendes in den Ateliers im Hauptgebäude Dürerstrasse 10 und in den Bildhauerateliers in der Daimlerstrasse 32 – 36.
Highlights:
Fr. 13.2. 18 Uhr, Mensa Dürerstr.: offizielle Eröffnung mit Preisverleihung
Fr. 13.2. 22 Uhr, Mensa Daimlerstr.: Rundgang-Party Live-Musik: „Tyger, Tyger“ und „Barnwave“ (Kevin Blechdom/Christopher Fleeger). DJs: Michael Lasch/Huen (Hauptbahnhof-Musik); Special Guest DJ und Gastprofessor Eric D. Clark.
So. 15.2. 17 Uhr, Aula Dürerstr.: Beatrix Ruf (Kunsthalle Zürich) im Gespräch mit Prof. Tobias Rehberger
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse.
Besonders hinweisen möchten wir auf:
Sa. 14.2. ab 13 Uhr, Halle Dürerstr.: Kochwerkstatt: Bouhlou Houcine und Studierende.
So. 10.2. ab 11 Uhr, Mensa Daimlerstr.: Musikalischer Frühschoppen mit Martin Wagner (Akkordeon) und Hanns Höhn (Kontrabaß).
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 11 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, ebenso wie weitere Informationen die Städelschule betreffend.
Freitags ab 15 Uhr, Samstags und Sonntags ab 11 Uhr verkehren Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der Rundgang wird unterstützt durch:
1822 Stiftung - Delbrück Bethmann Maffei ABN AMRO - Ermenegildo Zegna - Linklaters LLP - Verein der Frankfurter Künstlerhilfe e.V - Lohr und Schach - Landwirtschaftliche Rentenbank - Verein Städelschule Portikus e.V.
Max Beckmann – Lehrer an der Städelschule
Montag, 9. Februar, 19 Uhr, Halle
Anlässlich des 125. Geburtstags von Max Beckmann lädt die Städelschule zu einem Gespräch mit Mayen Beckmann und Klaus Gallwitz ein.
Beckmann lebte siebzehn Jahre in Frankfurt am Main und leitete von 1925 bis 1933 eine Meisterklasse an der Städelschule.
Begrüssung: Prof. Michael Krebber (Rektor)
Einleitung: Brigitte von Ribbentrop (Vorstand Städelschule Portikus e.V.)
Im Anschluss besteht in der Mensa die Möglichkeit zu einem Gedankenaustausch.
Rundgang 2009 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
Eröffnung mit Preisverleihung: Freitag, 13. Februar, 18 Uhr, Dürerstrasse 10
Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2008
Öffnungszeiten: 10 – 20 Uhr
Eintritt: Frei
Vom 13. bis zum 15. Februar präsentiert sich die Staatliche Hochschule für Bildende Künste – Städelschule wieder der interessierten Öffentlichkeit. Die etwa 160 Studierenden der Bildenden Kunst und Architektur der Klassen Christa Näher, Judith Hopf, Michael Krebber, Willem de Rooij, Mark Leckey, Ben van Berkel, Simon Starling und Tobias Rehberger zeigen ihre aktuellen Arbeiten während des gesamten Wochenendes in den Ateliers im Hauptgebäude Dürerstrasse 10 und in den Bildhauerateliers in der Daimlerstrasse 32 – 36.
Highlights:
Fr. 13.2. 18 Uhr, Mensa Dürerstr.: offizielle Eröffnung mit Preisverleihung
Fr. 13.2. 22 Uhr, Mensa Daimlerstr.: Rundgang-Party Live-Musik: „Tyger, Tyger“ und „Barnwave“ (Kevin Blechdom/Christopher Fleeger). DJs: Michael Lasch/Huen (Hauptbahnhof-Musik); Special Guest DJ und Gastprofessor Eric D. Clark.
So. 15.2. 17 Uhr, Aula Dürerstr.: Beatrix Ruf (Kunsthalle Zürich) im Gespräch mit Prof. Tobias Rehberger
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse.
Besonders hinweisen möchten wir auf:
Sa. 14.2. ab 13 Uhr, Halle Dürerstr.: Kochwerkstatt: Bouhlou Houcine und Studierende.
So. 10.2. ab 11 Uhr, Mensa Daimlerstr.: Musikalischer Frühschoppen mit Martin Wagner (Akkordeon) und Hanns Höhn (Kontrabaß).
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 11 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, ebenso wie weitere Informationen die Städelschule betreffend.
Freitags ab 15 Uhr, Samstags und Sonntags ab 11 Uhr verkehren Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der Rundgang wird unterstützt durch:
1822 Stiftung - Delbrück Bethmann Maffei ABN AMRO - Ermenegildo Zegna - Linklaters LLP - Verein der Frankfurter Künstlerhilfe e.V - Lohr und Schach - Landwirtschaftliche Rentenbank - Verein Städelschule Portikus e.V.
Freitag, 30. Januar 2009
NIKOLAUS HIRSCH
Herzliche Einladung zu den Veranstaltungen der Städelschule!
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Nikolaus Hirsch: Exquisite Corps
Thursday, 5th February, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
In his lecture at the Städelschule Nikolaus Hirsch contributes to the discussion on pavilions in light of some of his most recent projects. Referring to "Exquisite Corpse", his growing institutional model for the European Kunsthalle (recently being exhibited at Showroom London, 2008), and the "Cybermohalla Hub" (Manifesta 7 and Delhi), he questions the relationship between stable and unstable spatial configurations.
Nikolaus Hirsch is a Frankfurt-based architect and guest professor at Städelschule who has held academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition structures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel) and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.
His work has been shown in “Neue Welt” (Frankfurter Kunstverein, 2001), “Utopia Station“ at the Venice Biennial 2003, “Can Buildings Curate” (Architectural Association London / Storefront Gallery, New York, 2005), Thomas Bayrle´s “40 Years Chinese Rock 'n Roll” (MMK Frankfurt, 2006), "Horn Please" (Kunstmuseum Bern, 2007), and Manifesta 7 in Bolzano. Nikolaus Hirsch has curated „ErsatzStadt: Representations of the Urban“ at Volksbühne Berlin and is a member of the „Curating Architecture“ program at Goldsmiths College in London. Recently he has published „On Boundaries“ (Sternberg Press), a collection of essays and interviews that focuses on the relationship between architectural, artistic and curatorial models.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Nikolaus Hirsch: Exquisite Corps
Thursday, 5th February, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
In his lecture at the Städelschule Nikolaus Hirsch contributes to the discussion on pavilions in light of some of his most recent projects. Referring to "Exquisite Corpse", his growing institutional model for the European Kunsthalle (recently being exhibited at Showroom London, 2008), and the "Cybermohalla Hub" (Manifesta 7 and Delhi), he questions the relationship between stable and unstable spatial configurations.
Nikolaus Hirsch is a Frankfurt-based architect and guest professor at Städelschule who has held academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition structures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel) and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.
His work has been shown in “Neue Welt” (Frankfurter Kunstverein, 2001), “Utopia Station“ at the Venice Biennial 2003, “Can Buildings Curate” (Architectural Association London / Storefront Gallery, New York, 2005), Thomas Bayrle´s “40 Years Chinese Rock 'n Roll” (MMK Frankfurt, 2006), "Horn Please" (Kunstmuseum Bern, 2007), and Manifesta 7 in Bolzano. Nikolaus Hirsch has curated „ErsatzStadt: Representations of the Urban“ at Volksbühne Berlin and is a member of the „Curating Architecture“ program at Goldsmiths College in London. Recently he has published „On Boundaries“ (Sternberg Press), a collection of essays and interviews that focuses on the relationship between architectural, artistic and curatorial models.
Freitag, 23. Januar 2009
TIRDAD ZOLGHADR / MORGAN FISHER / FRANK BARKOW
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Tirdad Zolghadr: Only You. Thoughts on the Artworld and its Peculiar Sense of Expertise
Tuesday, 27 January, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
How does art do it? What’s the unique selling point that lets art get away with murder, again and again. Whether you’re lecturing, writing, curating, or helping yourself to context as an artist, the art reference will open doors to an unquestioned ambivalence that remains out of bounds for other professions. When is the artistic colonization of architectural, theoretical, activist traditions a blessing, and when is it a case of unwittingly aping the “architects”, “academics”,“activists” etc. In other words, when does the post-medium, post-disciplinary condition offer the productivity of unpredictable combinations, and when is it a fashionable display of semi-knowledge. And when can it be both. Trouble is, if the world is our oyster, then there’s no situation where the artworld can be expected to sit down and shut up. So even if attempts to delineate the arts-as-field have amounted to ignoble acts of intellectual malice, committed by pompous old cretins in corduroy, even then, it might be worth the risk.
Tirdad Zolghadr is an independent writer and curator based in Berlin. He currently teaches at the Center for Curatorial Studies at Bard College (NY), and writes for magazines such as Frieze, Parkett, Bidoun, Cabinet, and Afterall. He has curated “Ethnic Marketing” at the Kunsthalle Geneva 2004) and „Lapdogs of the Bourgeoisie“ (2006-09). His novel "Softcore" is still available on Amazon, used and new.
Morgan Fisher: Painting Work
Wednesday, 28 January, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
While studying art history and film, the American artist and filmmaker Morgan Fisher worked as a film editor for Hollywood productions, and his first film projects were clearly shaped by these experiences. He first appeared at the end of the 1960s with film works such as The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Documentary Footage or Production Stills (1968 and 1970). In 1984 he produced his well-known 35-minute Standard Gauge, in which found footage was compiled according to a precise formal model. With these conceptual approaches, Fisher reflects on the parameters of cinematographic depiction. In the early 1970s, these works were already shown at the Museum of Modern Art and the Whitney Museum of American Art in New York. At the end of the 1990s, Fisher expanded his work to include painting, drawing and spatial installations. Today, Morgan Fisher ranks as one of the best-known and most influential artists of the American West Coast who has decisively influenced an entire generation of young artists. For many years, he was professor at UCLA and the Art Center College of Design in Pasadena, California.
the Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Frank Barkow: Revolution of Choice
Thursday, 29 January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Parallel to their internationally acclaimed buildings Berlin-based architects Barkow Leibinger have continuously developed a series of pavilions, temporary structures and applied research modules. These include Barkow Leibinger´s “Formation (Re) Formation: A Nomadic Garden” for the Architecture Biennial in Venice 2008, the Marcus Prize Pavilion in Milwaukee, and most recently the project for a pavilion for the German Architecture Museum in Frankfurt. Resulting in a variety of prototypes the applied research addresses advanced techniques such as revolved lasercutting (Tubematic), bending (Trumabend V-series) and casting of ceramic elements.
Frank Barkow is an architect and partner of Berlin-based Barkow Leibinger. He currently teaches at Harvard Design School and has previously held academic positions at Cornell University, the Architectural Association in London, and Akademie der Bildenden Künste Stuttgart. Barkow Leibinger´s work includes Trudec Building in Seoul, the service and Training Center in Dietzingen, the Campus restaurant and auditorium in Dietzingen and Biosphere in Potsdam.
Ausstellung:
Morgan Fisher: Portikus Looks at Itself
Eröffnung: 30. Januar, 20 Uhr, Portikus
Ausstellungsdauer: 31. Januar 2009 - 15. März 2009
Tirdad Zolghadr: Only You. Thoughts on the Artworld and its Peculiar Sense of Expertise
Tuesday, 27 January, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
How does art do it? What’s the unique selling point that lets art get away with murder, again and again. Whether you’re lecturing, writing, curating, or helping yourself to context as an artist, the art reference will open doors to an unquestioned ambivalence that remains out of bounds for other professions. When is the artistic colonization of architectural, theoretical, activist traditions a blessing, and when is it a case of unwittingly aping the “architects”, “academics”,“activists” etc. In other words, when does the post-medium, post-disciplinary condition offer the productivity of unpredictable combinations, and when is it a fashionable display of semi-knowledge. And when can it be both. Trouble is, if the world is our oyster, then there’s no situation where the artworld can be expected to sit down and shut up. So even if attempts to delineate the arts-as-field have amounted to ignoble acts of intellectual malice, committed by pompous old cretins in corduroy, even then, it might be worth the risk.
Tirdad Zolghadr is an independent writer and curator based in Berlin. He currently teaches at the Center for Curatorial Studies at Bard College (NY), and writes for magazines such as Frieze, Parkett, Bidoun, Cabinet, and Afterall. He has curated “Ethnic Marketing” at the Kunsthalle Geneva 2004) and „Lapdogs of the Bourgeoisie“ (2006-09). His novel "Softcore" is still available on Amazon, used and new.
Morgan Fisher: Painting Work
Wednesday, 28 January, 19 h, Aula
Die Veranstaltung findet in englischer Sprache statt.
While studying art history and film, the American artist and filmmaker Morgan Fisher worked as a film editor for Hollywood productions, and his first film projects were clearly shaped by these experiences. He first appeared at the end of the 1960s with film works such as The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Documentary Footage or Production Stills (1968 and 1970). In 1984 he produced his well-known 35-minute Standard Gauge, in which found footage was compiled according to a precise formal model. With these conceptual approaches, Fisher reflects on the parameters of cinematographic depiction. In the early 1970s, these works were already shown at the Museum of Modern Art and the Whitney Museum of American Art in New York. At the end of the 1990s, Fisher expanded his work to include painting, drawing and spatial installations. Today, Morgan Fisher ranks as one of the best-known and most influential artists of the American West Coast who has decisively influenced an entire generation of young artists. For many years, he was professor at UCLA and the Art Center College of Design in Pasadena, California.
the Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Frank Barkow: Revolution of Choice
Thursday, 29 January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Parallel to their internationally acclaimed buildings Berlin-based architects Barkow Leibinger have continuously developed a series of pavilions, temporary structures and applied research modules. These include Barkow Leibinger´s “Formation (Re) Formation: A Nomadic Garden” for the Architecture Biennial in Venice 2008, the Marcus Prize Pavilion in Milwaukee, and most recently the project for a pavilion for the German Architecture Museum in Frankfurt. Resulting in a variety of prototypes the applied research addresses advanced techniques such as revolved lasercutting (Tubematic), bending (Trumabend V-series) and casting of ceramic elements.
Frank Barkow is an architect and partner of Berlin-based Barkow Leibinger. He currently teaches at Harvard Design School and has previously held academic positions at Cornell University, the Architectural Association in London, and Akademie der Bildenden Künste Stuttgart. Barkow Leibinger´s work includes Trudec Building in Seoul, the service and Training Center in Dietzingen, the Campus restaurant and auditorium in Dietzingen and Biosphere in Potsdam.
Ausstellung:
Morgan Fisher: Portikus Looks at Itself
Eröffnung: 30. Januar, 20 Uhr, Portikus
Ausstellungsdauer: 31. Januar 2009 - 15. März 2009
Montag, 19. Januar 2009
SABETH BUCHMANN / JAN VERWOERT / CHARLES WALKER
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Sabeth Buchmann
Thinking against the thinking.
Production, Technology, Subjectivity
Tuesday, 20th January, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Based on works by Sol LeWitt, Hélio Oiticica and Yvonne Rainer as well as some central shows from the 1960/70s dealing with "Art and technology", Sabeth Buchmann turns attention from "Thinking against the thinking" to the various interrelations between social production codes and artistic works. This includes the American choreographer, dancer and filmmaker Yvonne Rainer and the relativization of author and creation based catagories while referring to industrial catagories of production that address aspects of motion, psyche, emotions, sexuality and intersubjective relations.
Investigating exemplary choreographies and films, Buchmann shows that the (self-) interpretation of the performer is always to be understood in direct confrontation with the technological and media constructions of physical presence which have been vital for (post-) avantgarde concepts. In this connection she considers the current receptions of the 60/70s post-aventgarde, which identify a parallel-development to the postfordistic and biopolitical organisation forms of social works.
Sabeth Buchmann is an art historian and art critic who teaches as a Professor for Modern and Postmodern Art at the Academy of Fine Arts Vienna. She is a regular contributor to art magazines such as "Texte zur Kunst" and a co-editor of 'Polypen' - a publication series on art criticism and political theory.
Jan Verwoert
Why are conceptual artists painting again?
Because they think it’s a good idea.
Wednesday, 21st January, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
How have the basic conditions of art practice changed and what words and models could we use to open up the potentials at the heart of these developments in art after Conceptualism? The dominant models no longer satisfy. It makes no sense to melodramatically invoke the “end of painting” (or any other medium-specific practice for that part) when the continous emergence of fascinating work obviously proves apocalyptic endgame scenarios wrong. Yet, to pretend it were possible to go back to business as usual seems equally impossible because the radical expansion of artistic possibilities through the landslide changes of the 1960s leave medium-specific practices in the odd position of being one among many modes of artistic articulation, with no preset justification. How can we describe then what medium-specific practices like painting or sculpture can do today?
Unfortunately, a certain understanding of conceptualism has had incredibly stifling effects on how people approach their practice, namely the idea that to have a concept in art means to know exactly why you do what you do - before you ever even do it. This assumption has effectively increased the pressure on artists to occupy the genius-like position of a strategist who would clearly know the rules of how to do the right thing, the legitimate thing. How could we invent a language that would describe the potentials of contemporary practice, acknowledge a sense of crisis and doubt, yet break the spell of the senseless paranoia over legitimation - and instead help to transform critical art practice into a truly gay science based on a shared sense of appreciation and irreverence?
Jan Verwoert is a critic, who lives in Berlin, teaches art at the Piet Zwart Institute in Rotterdam, works as a contributing editor to frieze magazine, writes for different publications and co-curated the city-wide exhibition Art Sheffield 08, Yes, No, Other Options in Sheffield in 2008.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Charles Walker
Get Real!
Thursday, 22nd January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Canadian-born Charles Walker returns to Städelschule to give a share his vast experience in directing and realizing projects ranging from small pavilions to large urban masterplans. Currently working for Zaha Hadid Architects in London,Walker has previously practiced design-based engineering with Atelier One as well as Ove Arup & Partners. The latter firm he joined in 1998 and in 2000, he co-founded its Advanced Geometry Unit with Cecil Balmond.
Leading this unit, Walker was projector director and masterplanner for the Battersea Power Station Project, but - not the least in light of this lecture series, he was responsible for the Serpentine Gallery Summer Pavilions, including Daniel Libeskind's, Toyo Ito's and Oscar Niemeyer's structures.Educated an architect in Canada, Charles Walker went on to undertake post-graduate structural engineering studies at the Imperial College of Science Technology and Medicine in 1992. Since 2003, he has been teaching an Intermediate School Unit at the Architectural Association in London.
Sabeth Buchmann
Thinking against the thinking.
Production, Technology, Subjectivity
Tuesday, 20th January, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Based on works by Sol LeWitt, Hélio Oiticica and Yvonne Rainer as well as some central shows from the 1960/70s dealing with "Art and technology", Sabeth Buchmann turns attention from "Thinking against the thinking" to the various interrelations between social production codes and artistic works. This includes the American choreographer, dancer and filmmaker Yvonne Rainer and the relativization of author and creation based catagories while referring to industrial catagories of production that address aspects of motion, psyche, emotions, sexuality and intersubjective relations.
Investigating exemplary choreographies and films, Buchmann shows that the (self-) interpretation of the performer is always to be understood in direct confrontation with the technological and media constructions of physical presence which have been vital for (post-) avantgarde concepts. In this connection she considers the current receptions of the 60/70s post-aventgarde, which identify a parallel-development to the postfordistic and biopolitical organisation forms of social works.
Sabeth Buchmann is an art historian and art critic who teaches as a Professor for Modern and Postmodern Art at the Academy of Fine Arts Vienna. She is a regular contributor to art magazines such as "Texte zur Kunst" and a co-editor of 'Polypen' - a publication series on art criticism and political theory.
Jan Verwoert
Why are conceptual artists painting again?
Because they think it’s a good idea.
Wednesday, 21st January, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
How have the basic conditions of art practice changed and what words and models could we use to open up the potentials at the heart of these developments in art after Conceptualism? The dominant models no longer satisfy. It makes no sense to melodramatically invoke the “end of painting” (or any other medium-specific practice for that part) when the continous emergence of fascinating work obviously proves apocalyptic endgame scenarios wrong. Yet, to pretend it were possible to go back to business as usual seems equally impossible because the radical expansion of artistic possibilities through the landslide changes of the 1960s leave medium-specific practices in the odd position of being one among many modes of artistic articulation, with no preset justification. How can we describe then what medium-specific practices like painting or sculpture can do today?
Unfortunately, a certain understanding of conceptualism has had incredibly stifling effects on how people approach their practice, namely the idea that to have a concept in art means to know exactly why you do what you do - before you ever even do it. This assumption has effectively increased the pressure on artists to occupy the genius-like position of a strategist who would clearly know the rules of how to do the right thing, the legitimate thing. How could we invent a language that would describe the potentials of contemporary practice, acknowledge a sense of crisis and doubt, yet break the spell of the senseless paranoia over legitimation - and instead help to transform critical art practice into a truly gay science based on a shared sense of appreciation and irreverence?
Jan Verwoert is a critic, who lives in Berlin, teaches art at the Piet Zwart Institute in Rotterdam, works as a contributing editor to frieze magazine, writes for different publications and co-curated the city-wide exhibition Art Sheffield 08, Yes, No, Other Options in Sheffield in 2008.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Charles Walker
Get Real!
Thursday, 22nd January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Canadian-born Charles Walker returns to Städelschule to give a share his vast experience in directing and realizing projects ranging from small pavilions to large urban masterplans. Currently working for Zaha Hadid Architects in London,Walker has previously practiced design-based engineering with Atelier One as well as Ove Arup & Partners. The latter firm he joined in 1998 and in 2000, he co-founded its Advanced Geometry Unit with Cecil Balmond.
Leading this unit, Walker was projector director and masterplanner for the Battersea Power Station Project, but - not the least in light of this lecture series, he was responsible for the Serpentine Gallery Summer Pavilions, including Daniel Libeskind's, Toyo Ito's and Oscar Niemeyer's structures.Educated an architect in Canada, Charles Walker went on to undertake post-graduate structural engineering studies at the Imperial College of Science Technology and Medicine in 1992. Since 2003, he has been teaching an Intermediate School Unit at the Architectural Association in London.
Freitag, 9. Januar 2009
MARIA LIND / BEATRIZ COLOMINA
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Maria Lind: The Collaborative Turn: On Collaborative Practices and Contemporary Art
Wednesday, 14th January 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
What can we make of collaboration as one of the most important strands of recent art? Artists, curators, writers, architects, activists and others collaborate on a short-term basis, as well as on more long-term bases; they spread their attention across various subjects, methods, lifestyles, different political orientations, often hoping for some kind of emancipation. Furthermore, in a variety of projects, the form and basis of collective activities have been presented, examined, and called into question. At the same time, these collaborative efforts often constitute a response to specific, at times local, situations, and they constantly run the risk of being swallowed up and incorporated into the very systems against which they are reacting.
Since 2008 Maria Lind is the director of the graduate program, Center for Curatorial Studies, Bard College (NY). Previously she was the director of Iaspis in Stockholm (2005-2007) and the director of Kunstverein München (2002-2004) where she ran a program which involved artists such as Deimantas Narkevicius, Oda Projesi, Bojan Sarcevic, Philippe Parreno and Marion von Osten. The format of a retrospective was explored in a one-year long exhibition with Christine Borland, only ever showing one piece at a time and a retrospective project in the form of a 7-day long workshop with Rirkrit Tiravanija. The group project “Totally motivated: A sociocultural manoeuvre” was a collaboration between five curators and ten artists looking at the relationship between ”amateur” and ”professional” art and culture. From 1997-2001 she was curator at Moderna Museet in Stockholm and, in 1998, co-curator of Manifesta 2. She is the co-editor of the books “Curating with Light Luggage and Collected Newsletter” (Revolver), “Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art” (Blackdog Publishing), as well as the report “European Cultural Policies 2015” and “The Greenroom: Reconsidering the Documentary and Contemporary Art”.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Beatriz Colomina: The Pavilions of Modern Architecture
Thursday, 15th January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Re-commencing the current lecture series after New Year’s, architectural historian and theorist, Beatriz Colomina, will talk about the pavilions of modern architecture. Her lecture draws on her extensive scholarship, which focuses in particular on questions of architecture and media.
Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University. Her books include, amongst other, Privacy and Publicity: Modern Architecture as Mass Media (Cambridge: The MIT Press, 1994), which was awarded the 1995 International Book Award by the American Institute of Architects; Sexuality and Space (New York: Princeton Architectural Press, 1992), which was awarded the 1993 International Book Award by the American Institute of Architects and Architectureproduction (New York: Princeton Architectural Press, 1988). Her latest book is Domesticity at War (Barcelona: ACTAR and MIT Press, 2007). She has also curated a number of exhibitions.
In her essay, Pavilions of the Future (in Your Black Horizon, Olafur Eliasson and David Adjaye, Walter Konig, Cologne, 2007), Colomina argues that historically, 'pavilions made dreams seem real, and reality seem dreamlike...the unique role of a pavilion (is) to fuse image and structure...The pavilion is the key instrument for negotiating the relationship between image and physical structure.'
Maria Lind: The Collaborative Turn: On Collaborative Practices and Contemporary Art
Wednesday, 14th January 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
What can we make of collaboration as one of the most important strands of recent art? Artists, curators, writers, architects, activists and others collaborate on a short-term basis, as well as on more long-term bases; they spread their attention across various subjects, methods, lifestyles, different political orientations, often hoping for some kind of emancipation. Furthermore, in a variety of projects, the form and basis of collective activities have been presented, examined, and called into question. At the same time, these collaborative efforts often constitute a response to specific, at times local, situations, and they constantly run the risk of being swallowed up and incorporated into the very systems against which they are reacting.
Since 2008 Maria Lind is the director of the graduate program, Center for Curatorial Studies, Bard College (NY). Previously she was the director of Iaspis in Stockholm (2005-2007) and the director of Kunstverein München (2002-2004) where she ran a program which involved artists such as Deimantas Narkevicius, Oda Projesi, Bojan Sarcevic, Philippe Parreno and Marion von Osten. The format of a retrospective was explored in a one-year long exhibition with Christine Borland, only ever showing one piece at a time and a retrospective project in the form of a 7-day long workshop with Rirkrit Tiravanija. The group project “Totally motivated: A sociocultural manoeuvre” was a collaboration between five curators and ten artists looking at the relationship between ”amateur” and ”professional” art and culture. From 1997-2001 she was curator at Moderna Museet in Stockholm and, in 1998, co-curator of Manifesta 2. She is the co-editor of the books “Curating with Light Luggage and Collected Newsletter” (Revolver), “Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art” (Blackdog Publishing), as well as the report “European Cultural Policies 2015” and “The Greenroom: Reconsidering the Documentary and Contemporary Art”.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Beatriz Colomina: The Pavilions of Modern Architecture
Thursday, 15th January, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Re-commencing the current lecture series after New Year’s, architectural historian and theorist, Beatriz Colomina, will talk about the pavilions of modern architecture. Her lecture draws on her extensive scholarship, which focuses in particular on questions of architecture and media.
Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University. Her books include, amongst other, Privacy and Publicity: Modern Architecture as Mass Media (Cambridge: The MIT Press, 1994), which was awarded the 1995 International Book Award by the American Institute of Architects; Sexuality and Space (New York: Princeton Architectural Press, 1992), which was awarded the 1993 International Book Award by the American Institute of Architects and Architectureproduction (New York: Princeton Architectural Press, 1988). Her latest book is Domesticity at War (Barcelona: ACTAR and MIT Press, 2007). She has also curated a number of exhibitions.
In her essay, Pavilions of the Future (in Your Black Horizon, Olafur Eliasson and David Adjaye, Walter Konig, Cologne, 2007), Colomina argues that historically, 'pavilions made dreams seem real, and reality seem dreamlike...the unique role of a pavilion (is) to fuse image and structure...The pavilion is the key instrument for negotiating the relationship between image and physical structure.'
Freitag, 19. Dezember 2008
JACQUES RANCIERE
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Jacques Rancière: The Politics of Images
Wednesday, 7 January, 19h, Aula
Die Veranstaltungen findet in englischer Sprache statt.
“After the reign of the spectacle, the death of the image and an ethics of the non-representable have each been proclaimed, it seems timely to rethink the consistency of the image and the forms of its efficiency.”
Jacques Rancière
Jacques Rancière (born Algiers, 1940) is a French philosopher and Emeritus Professor of Philosophy at the University of Paris VIII (St. Denis) where he taught from 1969 to 2000. He came first to prominence when he co-authored "Reading Capital" (1968) with the Marxist philosopher and his mentor Louis Althusser, with whom he later split over the proper response to the student revolt of May 1968. Today, Rancière is most well known for his writings on emancipatory politics, aesthetics and the relationship between aesthetics and politics. He also writes extensively on cinema. His recent publications in german are Zehn Thesen zur Politik (diaphanes 2008) and Ist Kunst widerständig? (Merve 2008).
Jacques Rancière: The Politics of Images
Wednesday, 7 January, 19h, Aula
Die Veranstaltungen findet in englischer Sprache statt.
“After the reign of the spectacle, the death of the image and an ethics of the non-representable have each been proclaimed, it seems timely to rethink the consistency of the image and the forms of its efficiency.”
Jacques Rancière
Jacques Rancière (born Algiers, 1940) is a French philosopher and Emeritus Professor of Philosophy at the University of Paris VIII (St. Denis) where he taught from 1969 to 2000. He came first to prominence when he co-authored "Reading Capital" (1968) with the Marxist philosopher and his mentor Louis Althusser, with whom he later split over the proper response to the student revolt of May 1968. Today, Rancière is most well known for his writings on emancipatory politics, aesthetics and the relationship between aesthetics and politics. He also writes extensively on cinema. His recent publications in german are Zehn Thesen zur Politik (diaphanes 2008) and Ist Kunst widerständig? (Merve 2008).
JUDITH HOPF / PHILIPPE RAHM
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Judith Hopf: Doors - Count
Wednesday, 17 December, 19h, Aula
Die Veranstaltungen findet in englischer Sprache statt.
Judith Hopf takes the Portikus exhibition "Türen" (2007 in collaboration with Henrik Olesen) as an starting point of her lecture to exemplify further and recent projects and works.
Doors showed a collaborative project developed by Judith Hopf and Henrik Olesen. Doors offered passageways, entrances and exits, detours and cul-de-sacs, and repeatedly asked the viewer to come to a new decision. The different possibilities of action - opening doors, moving (backward) in space - engender new spatial constellations. They affect what is behind, what remains initially hidden from view, and necessitate unforeseen changes in direction and sidestepping gestures. This sculptural space, conceived as a model and designed in the manner of a stage setting, at once also presents an exaggerated delineation of social patterns, in which limitations, compulsions, contradictions and strictures, but also possibilities for decisions emerge into view. In a similar manner, Judith Hopf and Henrik Olesen also approached the subject of spatial and personal demarcation by means of film.
The new Film of Jdith Hopf, Zählen! (Count!) is about the unusual story of Wilhelm Von Osten, a Berlin high school mathematics teacher, phrenologist, showman and mystic. At the beginning of the twentieth century, working from Darwinian postulates, Von Osten successfully managed to train his horse Hans in elementary arithmetic. The horse quickly became a sensation, making the front cover of The New York Times and prompting the German board of eduction to convene a 13-man board of inquiry. The Hans Commission reported back in 1907. Analyzing the Hans’ arithmetical acumen in terms of what would henceforth be called the ‘Clever Hans effect’, the commission concluded that the horse’s true acuity lay in the realms of psychology. Zählen! is her most recent exhibition in the Gallery Croy Nielsen, Berlin, which ended last week.
Judith Hopf is professor for Fine Art at Städelschule.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Philippe Rahm: Meteorological Architecture
Thursday, 18 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Philippe Rahm´s lecture at the Städelschule investigates the concept of architecture as a physiological environment. Dealing with physiological and often invisible aspects of space the Paris-based architect raises the possibility that climate can replace the typology, function and form of what we use and define as architecture.
Philippe Rahm´s work has been shown in numerous exhibitions such as the Swiss Pavilion at the 8th Architecture Biennale in Venice and "Digestible Gulf Stream" at Architectural Venice Biennale 2008, San Francisco MoMA (2001), Museum of Modern Art in Paris (2001), Tirana Biennial 2001, "Form & function follow climate“ at CCA Kitakyushu (2004), Mori Art Museum (Tokyo, 2005), Centre Pompidou (2003-2007 and Manifesta 7. He has held academic positions at the Architectural Association in London, at the Ecole Nationale Supérieure de Beaux-Arts of Paris (2003), Mendrisio Academy of Architecture (2005/06) and at the ETH Lausanne (2006/07). He is a professor at the ECAL Lausanne and teaches at the School of Architecture of Paris-Malaquais in Paris. He has published „Physiological Architecture“ (Birkhäuser) and is currently working on several projects such as the „Winter House“ for Fabrice Hybert in France and the „Second summer“ in Austria.
Judith Hopf: Doors - Count
Wednesday, 17 December, 19h, Aula
Die Veranstaltungen findet in englischer Sprache statt.
Judith Hopf takes the Portikus exhibition "Türen" (2007 in collaboration with Henrik Olesen) as an starting point of her lecture to exemplify further and recent projects and works.
Doors showed a collaborative project developed by Judith Hopf and Henrik Olesen. Doors offered passageways, entrances and exits, detours and cul-de-sacs, and repeatedly asked the viewer to come to a new decision. The different possibilities of action - opening doors, moving (backward) in space - engender new spatial constellations. They affect what is behind, what remains initially hidden from view, and necessitate unforeseen changes in direction and sidestepping gestures. This sculptural space, conceived as a model and designed in the manner of a stage setting, at once also presents an exaggerated delineation of social patterns, in which limitations, compulsions, contradictions and strictures, but also possibilities for decisions emerge into view. In a similar manner, Judith Hopf and Henrik Olesen also approached the subject of spatial and personal demarcation by means of film.
The new Film of Jdith Hopf, Zählen! (Count!) is about the unusual story of Wilhelm Von Osten, a Berlin high school mathematics teacher, phrenologist, showman and mystic. At the beginning of the twentieth century, working from Darwinian postulates, Von Osten successfully managed to train his horse Hans in elementary arithmetic. The horse quickly became a sensation, making the front cover of The New York Times and prompting the German board of eduction to convene a 13-man board of inquiry. The Hans Commission reported back in 1907. Analyzing the Hans’ arithmetical acumen in terms of what would henceforth be called the ‘Clever Hans effect’, the commission concluded that the horse’s true acuity lay in the realms of psychology. Zählen! is her most recent exhibition in the Gallery Croy Nielsen, Berlin, which ended last week.
Judith Hopf is professor for Fine Art at Städelschule.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Philippe Rahm: Meteorological Architecture
Thursday, 18 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Philippe Rahm´s lecture at the Städelschule investigates the concept of architecture as a physiological environment. Dealing with physiological and often invisible aspects of space the Paris-based architect raises the possibility that climate can replace the typology, function and form of what we use and define as architecture.
Philippe Rahm´s work has been shown in numerous exhibitions such as the Swiss Pavilion at the 8th Architecture Biennale in Venice and "Digestible Gulf Stream" at Architectural Venice Biennale 2008, San Francisco MoMA (2001), Museum of Modern Art in Paris (2001), Tirana Biennial 2001, "Form & function follow climate“ at CCA Kitakyushu (2004), Mori Art Museum (Tokyo, 2005), Centre Pompidou (2003-2007 and Manifesta 7. He has held academic positions at the Architectural Association in London, at the Ecole Nationale Supérieure de Beaux-Arts of Paris (2003), Mendrisio Academy of Architecture (2005/06) and at the ETH Lausanne (2006/07). He is a professor at the ECAL Lausanne and teaches at the School of Architecture of Paris-Malaquais in Paris. He has published „Physiological Architecture“ (Birkhäuser) and is currently working on several projects such as the „Winter House“ for Fabrice Hybert in France and the „Second summer“ in Austria.
Freitag, 5. Dezember 2008
NIKOLAUS HIRSCH
Herzliche Einladung zu den Veranstaltungen der Städelschule!
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Nikolaus Hirsch: Exquisite Corps
Thursday, 11 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
In his lecture at the Städelschule Nikolaus Hirsch contributes to the discussion pavilions in light of some of his most recent projects. Referring to "Exquisite Corpse", a growing institutional model for the European Kunsthalle (Showroom London, 2008), and the "Cybermohalla Hub" at Manifesta 7 (Bolzano, 2008), he questions the relationship between stable and unstable spatial configurations
Nikolaus Hirsch is a Frankfurt-based architect and guest professor at Städelschule who has hold academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition architectures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel), “Frequencies-Hz” at Schirn Kunsthalle and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.
His work has been shown in “Neue Welt” (Frankfurter Kunstverein, 2001), “Utopia Station“ at the Venice Biennial 2003, “Can Buildings Curate” (Architectural Association London / Storefront Gallery, New York, 2005), Thomas Bayrle´s “40 Years Chinese Rock 'n Roll” (MMK Frankfurt, 2006), "Horn Please" (Kunstmuseum Bern, 2007), and Manifesta 7 in Bolzano. Nikolaus Hirsch has curated „ErsatzStadt: Representations of the Urban“ at Volksbühne Berlin and is a member of the „Curating Architecture“ program at Goldsmiths College in London. Recently he has published „On Boundaries“ (Sternberg Press), a collection of texts that focuses on the relationship between architectural, artistic and curatorial models.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Nikolaus Hirsch: Exquisite Corps
Thursday, 11 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
In his lecture at the Städelschule Nikolaus Hirsch contributes to the discussion pavilions in light of some of his most recent projects. Referring to "Exquisite Corpse", a growing institutional model for the European Kunsthalle (Showroom London, 2008), and the "Cybermohalla Hub" at Manifesta 7 (Bolzano, 2008), he questions the relationship between stable and unstable spatial configurations
Nikolaus Hirsch is a Frankfurt-based architect and guest professor at Städelschule who has hold academic positions at the Architectural Association in London, at the Institute of Applied Theater Studies at Giessen University, and at the University of Pennsylvania in Philadelphia. His work includes the award-winning Dresden Synagogue, the Hinzert Document Center, and numerous exhibition architectures such as “Making Things Public” at the ZKM (curated by Bruno Latour and Peter Weibel), “Frequencies-Hz” at Schirn Kunsthalle and "Indian Highway" (Serpentine Gallery, 2008). Hirsch´s ongoing research in institutional models has resulted in projects such as the Bockenheimer Depot Theater (with William Forsythe), Unitednationsplaza in Berlin (with Anton Vidokle), European Kunsthalle, Cybermohalla Hub in Delhi and currently a studio structure for Rirkrit Tiravanija´s “The Land”.
His work has been shown in “Neue Welt” (Frankfurter Kunstverein, 2001), “Utopia Station“ at the Venice Biennial 2003, “Can Buildings Curate” (Architectural Association London / Storefront Gallery, New York, 2005), Thomas Bayrle´s “40 Years Chinese Rock 'n Roll” (MMK Frankfurt, 2006), "Horn Please" (Kunstmuseum Bern, 2007), and Manifesta 7 in Bolzano. Nikolaus Hirsch has curated „ErsatzStadt: Representations of the Urban“ at Volksbühne Berlin and is a member of the „Curating Architecture“ program at Goldsmiths College in London. Recently he has published „On Boundaries“ (Sternberg Press), a collection of texts that focuses on the relationship between architectural, artistic and curatorial models.
Montag, 1. Dezember 2008
TOBIAS REHBERGER
Herzliche Einladung zu den Veranstaltungen der Städelschule!
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Tobias Rehberger: Halbe, viertel und ganze Eier
Thursday, 4 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Tobias Rehberger, Städelschule graduate and art professor since 2001, produces work of great artistic complexity and intimacy with design. The production flirts with the contemporary status of objects, space, commodification and innovation. Yet, for all its extravagance, humor and disciplinary ambiguity, Rehberger's work reflects his own clear identification as an artist. As he has put it, the work emerges from a paradigm of art - that is, the thinking and production of an artist. When the work is at its most potent in terms of design and spatial implications (such as in Private Matters (Whitechapel, London, 2004), On Otto (Fondazione Prada, Milan, 2007) and The-Chicken-and-Egg-No-Problem Wall Painting, (Stedelijk Museum, Amsterdam, 2008)), Rehberger seems to insist on a resistance to the most immanent interpretation of his own work.
Hence, Rehberger's art is probably less about "chance connections" than it is about a carefully calculated play of contradictions, paradoxes and conflicts. It is probably less about "unexpected encounters" than it is about a spatial scenography revolving around disciplinary and productive tension.
To a discussion about architecture, art and the typology of the pavilion, Tobias Rehberger brings ideas and a portfolio of work that bespeaks the disciplinary and typological strictures, yet suspend the same relative to an urgency of production.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Tobias Rehberger: Halbe, viertel und ganze Eier
Thursday, 4 December, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Tobias Rehberger, Städelschule graduate and art professor since 2001, produces work of great artistic complexity and intimacy with design. The production flirts with the contemporary status of objects, space, commodification and innovation. Yet, for all its extravagance, humor and disciplinary ambiguity, Rehberger's work reflects his own clear identification as an artist. As he has put it, the work emerges from a paradigm of art - that is, the thinking and production of an artist. When the work is at its most potent in terms of design and spatial implications (such as in Private Matters (Whitechapel, London, 2004), On Otto (Fondazione Prada, Milan, 2007) and The-Chicken-and-Egg-No-Problem Wall Painting, (Stedelijk Museum, Amsterdam, 2008)), Rehberger seems to insist on a resistance to the most immanent interpretation of his own work.
Hence, Rehberger's art is probably less about "chance connections" than it is about a carefully calculated play of contradictions, paradoxes and conflicts. It is probably less about "unexpected encounters" than it is about a spatial scenography revolving around disciplinary and productive tension.
To a discussion about architecture, art and the typology of the pavilion, Tobias Rehberger brings ideas and a portfolio of work that bespeaks the disciplinary and typological strictures, yet suspend the same relative to an urgency of production.
Mittwoch, 19. November 2008
EYAL WEIZMAN / WILL BRADLEY / BEN VAN BERKEL
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Eyal Weizman: Future Archeology
Sunday, 23 November 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
In his lecture at the Städelschule Eyal Weizman investigates the conflicts and contradictions within contemporary spatial practice. Referring to his book "Hollow Land" and his most recent project "The Lesser Evil" he discusses the notion of political agency as one of the key questions of the current cultural debate.
London-based Eyal Weizman is one of the most prolific figures in the ongoing renegotiation of cultural agency. As the founder and director of the Centre for Research Architecture at Goldsmiths College in London he has initiated a „Roundtable“ that involves a variety of curators, architects and artists. Before this role, Weizman was Professor of Architecture at the Academy of Fine Arts in Vienna. His books include „A Civilian Occupation“ (Verso Books, 2003) and „Hollow Land“ (Verso Books, 2007. Weizman is a regular contributor to many journals and magazines and is an editor at large for Cabinet Magazine (New York). Weizman is the recipient of the James Stirling Memorial Lecture Prize for 2006-2007. As a curator he has co-organized „Territories“ (KW Berlin, 2003, with Anselm Franke). Most recently his work has been shown at Manifesta 7 and Brussels Biennial.
Will Bradley: What Are You Doing Here?: Art in the Place of Politics at OSRAM China Lighting Ltd.
Tuesday, 25 November, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Will Bradley´s lecture discusses the relationship between art and politics centred on the project “What are you doing here?” (2006), produced by the Siemens Art Program, in which 'the artist Cao Fei works with employees from OSRAM China Lighting to turn their individual ideas, hopes and expectations into art.' The talk will examine how this process worked, and discuss its implications.
Will Bradley is an Oslo-based critic and curator who is currently a guest professor at the Städelschule. He is researching social and economic experiments in contemporary art and has co-founded “The Modern Institute” in Glasgow that produces artists' projects and represents artists. He has co-edited “Self Organisation / Counter-Economic Strategies” (Lukas & Sternberg, 2006) and "Art and Social Change" (Tate, 2007). As a curated he has organized the exhibition "Radical Software" (CCA Wattis Institute, San Francisco 2006) and „Forms of Resistance“ (Van Abbemuseum, Eindhoven, 2007). He is currently working (with curator Cristina Ricupero) on „Manufacturing Today“, a polemical survey of alternatives and oppositions to the neo-liberal instrumentalisation of art and art education.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Ben van Berkel: Switching On & Off
Thursday, 27 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ben van Berkel and UNStudio designed and developed over the years a series of pavilions with which they have explored specific themes in architecture. These themes have ranged from the problem of formal and geometric continuity, via circulation and time, to informed surface conditions.
According to Ben van Berkel small and temporary projects are often a great way to test new ideas, to advance themes that form part of longer-lasting preoccupations. ‘What we like to do is work in series. To us, each project is like a still from a film.’
For the Architecture Biennale 2008 in Venice, UNStudio produced the pavilion ‘The Changing Room’. The pavilion explores inside-outside relationships with a geometric organization that twists and folds into itself. As the continuous surfaces peel back and expose the interior, the visitors are confronted with a choreography that summons the intimacy of the changing room and weaves the public and private domains to one another.
Ben van Berkel is Dean of the Städelschule Architecture Class.
Eyal Weizman: Future Archeology
Sunday, 23 November 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
In his lecture at the Städelschule Eyal Weizman investigates the conflicts and contradictions within contemporary spatial practice. Referring to his book "Hollow Land" and his most recent project "The Lesser Evil" he discusses the notion of political agency as one of the key questions of the current cultural debate.
London-based Eyal Weizman is one of the most prolific figures in the ongoing renegotiation of cultural agency. As the founder and director of the Centre for Research Architecture at Goldsmiths College in London he has initiated a „Roundtable“ that involves a variety of curators, architects and artists. Before this role, Weizman was Professor of Architecture at the Academy of Fine Arts in Vienna. His books include „A Civilian Occupation“ (Verso Books, 2003) and „Hollow Land“ (Verso Books, 2007. Weizman is a regular contributor to many journals and magazines and is an editor at large for Cabinet Magazine (New York). Weizman is the recipient of the James Stirling Memorial Lecture Prize for 2006-2007. As a curator he has co-organized „Territories“ (KW Berlin, 2003, with Anselm Franke). Most recently his work has been shown at Manifesta 7 and Brussels Biennial.
Will Bradley: What Are You Doing Here?: Art in the Place of Politics at OSRAM China Lighting Ltd.
Tuesday, 25 November, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Will Bradley´s lecture discusses the relationship between art and politics centred on the project “What are you doing here?” (2006), produced by the Siemens Art Program, in which 'the artist Cao Fei works with employees from OSRAM China Lighting to turn their individual ideas, hopes and expectations into art.' The talk will examine how this process worked, and discuss its implications.
Will Bradley is an Oslo-based critic and curator who is currently a guest professor at the Städelschule. He is researching social and economic experiments in contemporary art and has co-founded “The Modern Institute” in Glasgow that produces artists' projects and represents artists. He has co-edited “Self Organisation / Counter-Economic Strategies” (Lukas & Sternberg, 2006) and "Art and Social Change" (Tate, 2007). As a curated he has organized the exhibition "Radical Software" (CCA Wattis Institute, San Francisco 2006) and „Forms of Resistance“ (Van Abbemuseum, Eindhoven, 2007). He is currently working (with curator Cristina Ricupero) on „Manufacturing Today“, a polemical survey of alternatives and oppositions to the neo-liberal instrumentalisation of art and art education.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Ben van Berkel: Switching On & Off
Thursday, 27 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ben van Berkel and UNStudio designed and developed over the years a series of pavilions with which they have explored specific themes in architecture. These themes have ranged from the problem of formal and geometric continuity, via circulation and time, to informed surface conditions.
According to Ben van Berkel small and temporary projects are often a great way to test new ideas, to advance themes that form part of longer-lasting preoccupations. ‘What we like to do is work in series. To us, each project is like a still from a film.’
For the Architecture Biennale 2008 in Venice, UNStudio produced the pavilion ‘The Changing Room’. The pavilion explores inside-outside relationships with a geometric organization that twists and folds into itself. As the continuous surfaces peel back and expose the interior, the visitors are confronted with a choreography that summons the intimacy of the changing room and weaves the public and private domains to one another.
Ben van Berkel is Dean of the Städelschule Architecture Class.
Freitag, 14. November 2008
FRANCES STARK / TOMAS SARACENO
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Frances Stark: The New Vision
Tuesday, 18 November, 19h, Aula
Bitte beachten Sie, dass diese Veranstaltung um einen Tag vorverlegt wurde.
Please note this lecture is rescheduled for one day earlier.
Die Veranstaltung findet in englischer Sprache statt.
Frances Stark’s (b. 1967, lives and works in Los Angeles) works arise mainly out of a complex system of references comprising texts and images. Thus the metaphorical significance and composition of the written word on the canvas or the paper form the starting point from which her collages and texts draw their creative sustenance. Equally important for her method of working are visual templates from the world of art; they can be derived from classical art, but can also be taken from textual and pictorial material from a more contemporary or sub-cultural genre. She creates networks made up of different found and discovered symbols, cuttings and graphic elements, quotations from literature and autobiographical references in the delicate ornament of her collages. Equally characteristic for the contextual composition of the works is the illumination of and engagement with her own personal creative process as well as with the diverse roles and attitudes she adopts as an artist and author. Stark’s approach is accordingly characterized by a repeated self-referentiality within her own work. Motifs and textual fragments, but also complete thematic threads can weave their path through several cycles of work. Frances Stark’s two publications Frances Stark: Collected Writing, 1993-2003 (2003, Bookworks, London) and Frances Stark: Collected Works (2007, Verlag der Buchhandlung Walter König, Cologne) trace this development most beautifully. Frances Stark’s works are informed for the most part with a fine sense of humour; it manifests itself both in the special choice of motif and in the minimal composition of the respective elements when engaging with the dynamic tension inherent in »public and private« or »gravity and irony, i.e. posing«.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Tomas Saraceno
in Conversation with Klaus Bollinger, Johan Bettum and Nikolaus Hirsch
Thursday, 20 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Meeting with Klaus Bollinger, Nikolaus Hirsch and Johan Bettum, Städelschule alumnus Tomas Saraceno will discuss aspects of his work with respect to issues in art and architecture. The panel will investigate Saraceno’s visionary approach to architecture, engineering, and physics, while addressing spatial and conceptual questions related to art.
Tomas Saraceno was trained as an architect in Argentina before commencing his post-graduate training in art and architecture in Argentina, Germany and Italy. Already during his studies at the Städelschule (2001-2003), Saraceno had begun exhibiting his work, and upon graduation he soon established a career as an artist. He has had numerous prestigious solo exhibitions and participated in group exhibitions all over the world, including “Infinitive Actives” at Portikus (2006), Venice Biennial (2003) and his project on the world's largest salt lake, Salar de Uyuni in Bolivia. His permanent installations are “On Clouds (Air port city)” at Towada Arts Center in Japan, and “Flying Garden” in Munich. Currently he holds a residency at Walker Art Center in Minneapolis where he is preparing a major solo exhibition in 2009.
Ausstellung:
Frances Stark: The New Vision
Eröffnung: 21. November, 20 Uhr, Portikus
Ausstellungsdauer: 22. November 2008 - 11. Januar 2009
Eyal Weizman: Future Archeology
Sunday, 23 November 19h, Aula
Bitte beachten Sie, dass diese Veranstaltung um einen Tag vorverlegt wurde.
Please note this lecture is rescheduled for one day earlier.
Die Veranstaltung findet in englischer Sprache statt.
Frances Stark: The New Vision
Tuesday, 18 November, 19h, Aula
Bitte beachten Sie, dass diese Veranstaltung um einen Tag vorverlegt wurde.
Please note this lecture is rescheduled for one day earlier.
Die Veranstaltung findet in englischer Sprache statt.
Frances Stark’s (b. 1967, lives and works in Los Angeles) works arise mainly out of a complex system of references comprising texts and images. Thus the metaphorical significance and composition of the written word on the canvas or the paper form the starting point from which her collages and texts draw their creative sustenance. Equally important for her method of working are visual templates from the world of art; they can be derived from classical art, but can also be taken from textual and pictorial material from a more contemporary or sub-cultural genre. She creates networks made up of different found and discovered symbols, cuttings and graphic elements, quotations from literature and autobiographical references in the delicate ornament of her collages. Equally characteristic for the contextual composition of the works is the illumination of and engagement with her own personal creative process as well as with the diverse roles and attitudes she adopts as an artist and author. Stark’s approach is accordingly characterized by a repeated self-referentiality within her own work. Motifs and textual fragments, but also complete thematic threads can weave their path through several cycles of work. Frances Stark’s two publications Frances Stark: Collected Writing, 1993-2003 (2003, Bookworks, London) and Frances Stark: Collected Works (2007, Verlag der Buchhandlung Walter König, Cologne) trace this development most beautifully. Frances Stark’s works are informed for the most part with a fine sense of humour; it manifests itself both in the special choice of motif and in the minimal composition of the respective elements when engaging with the dynamic tension inherent in »public and private« or »gravity and irony, i.e. posing«.
The Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Tomas Saraceno
in Conversation with Klaus Bollinger, Johan Bettum and Nikolaus Hirsch
Thursday, 20 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Meeting with Klaus Bollinger, Nikolaus Hirsch and Johan Bettum, Städelschule alumnus Tomas Saraceno will discuss aspects of his work with respect to issues in art and architecture. The panel will investigate Saraceno’s visionary approach to architecture, engineering, and physics, while addressing spatial and conceptual questions related to art.
Tomas Saraceno was trained as an architect in Argentina before commencing his post-graduate training in art and architecture in Argentina, Germany and Italy. Already during his studies at the Städelschule (2001-2003), Saraceno had begun exhibiting his work, and upon graduation he soon established a career as an artist. He has had numerous prestigious solo exhibitions and participated in group exhibitions all over the world, including “Infinitive Actives” at Portikus (2006), Venice Biennial (2003) and his project on the world's largest salt lake, Salar de Uyuni in Bolivia. His permanent installations are “On Clouds (Air port city)” at Towada Arts Center in Japan, and “Flying Garden” in Munich. Currently he holds a residency at Walker Art Center in Minneapolis where he is preparing a major solo exhibition in 2009.
Ausstellung:
Frances Stark: The New Vision
Eröffnung: 21. November, 20 Uhr, Portikus
Ausstellungsdauer: 22. November 2008 - 11. Januar 2009
Eyal Weizman: Future Archeology
Sunday, 23 November 19h, Aula
Bitte beachten Sie, dass diese Veranstaltung um einen Tag vorverlegt wurde.
Please note this lecture is rescheduled for one day earlier.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 6. November 2008
ANTON VIDOKLE / JOCHEN VOLZ
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Anton Vidokle: Everything You Always Wanted To Know About __ But Were Too Afraid To Ask.
Tuesday, 11 November, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Anton Vidokle is an artist based in New York and Berlin. His work has been exhibited in shows such as the Venice Biennale, Lyon Biennial, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musee d'art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; among others. With Julieta Aranda, he organized e-flux video rental, which traveled to numerous institutions including Portikus, Frankfurt; KW, Berlin; Extra City, Antwerp; Carpenter Center, Harvard University, Cambridge, MA; and others. As founder of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organized An Image Bank for Everyday Revolutionary Life and Martha Rosler Library. Vidokle initiated research into education as site for artistic practice as co-curator for Manifesta 6, which was canceled. In response to the cancellation, Vidokle set up an independent project in Berlin alled Unitednationsplaza - a twelve-month exhibition-as-school involving more than a hundred artists, writers, theorists, and diverse audiences. Located behind a supermarket in East Berlin, UNP's program featured numerous seminars, lectures, screenings, book presentations. Unitednationsplaza recently traveled to Mexico City and a parallel project called the Night School will continue at the New Museum through January 2009.
the Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Jochen Volz: Unfolding an Institution: Finding Inhotim
Thursday, 13 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Jochen Volz is the artistic director of Inhotim Centro de Arte Contemporânea, a large museum complex which was founded in 2005, situated in Brumadinho, 60 km from the capital of Minas Gerais in Brazil. The museum is unique for its combination of a botanical garden with the collection of important Brazilian and international art. In addition to a collection that includes important Brazilian and international art from the 1960s and on, Inhotim numbers a sequence of pavilions in the midst of a botanical garden. The botanical garden has been partly developed along guidelines formulated by famed landscape artist, Roberto Burle Marx. The enormous variety of plants at Inhotim makes it one of the largest botanical collections in the world, with rare tropical species and a forest reserve which is part of the Atlantic Forest biome. The pavilions and botanical garden form the core of the museum complex and, together with the art collection, support the institution’s ongoing development of research, scientific innovation and education.
In 2006 Jochen Volz guest curated the 27th São Paulo Biennial: How to Live Together, with a special exhibition project in homage to Marcel Broodthaers with Juan Araujo, Mabe Bethônico, Marcel Broodthaers, Marilá Dardot, Tacita Dean, Meschac Gaba, Goshka Macuga, Rirkrit Tiravanija, Haegue Yang. Between 2001 and 2004, he was curator of Portikus, Frankfurt am Main. As a critic he is writing for magazines and catalogues. Together with Daniel Birnbaum, he will be organizing the international section of the 53rd International Art Exhibition, Venice Biennial 2009. Jochen Volz currently holds the Heinz und Giesela Friederichs Stiftung professorship for Art and Architecture 2008-09 at Städelschule.
Anton Vidokle: Everything You Always Wanted To Know About __ But Were Too Afraid To Ask.
Tuesday, 11 November, 19h, Aula
Die Veranstaltung findet in englischer Sprache statt.
Anton Vidokle is an artist based in New York and Berlin. His work has been exhibited in shows such as the Venice Biennale, Lyon Biennial, Dakar Biennale and at Tate Modern, London; Moderna Galerija, Ljubljana; Musee d'art Modern de la Ville de Paris; Museo Carrillo Gil, Mexico City; UCLA Hammer, LA; ICA, Boston; Haus Der Kunst, Munich; P.S.1, New York; among others. With Julieta Aranda, he organized e-flux video rental, which traveled to numerous institutions including Portikus, Frankfurt; KW, Berlin; Extra City, Antwerp; Carpenter Center, Harvard University, Cambridge, MA; and others. As founder of e-flux, he has produced projects such as Next Documenta Should Be Curated By An Artist, Do it, Utopia Station poster project, and organized An Image Bank for Everyday Revolutionary Life and Martha Rosler Library. Vidokle initiated research into education as site for artistic practice as co-curator for Manifesta 6, which was canceled. In response to the cancellation, Vidokle set up an independent project in Berlin alled Unitednationsplaza - a twelve-month exhibition-as-school involving more than a hundred artists, writers, theorists, and diverse audiences. Located behind a supermarket in East Berlin, UNP's program featured numerous seminars, lectures, screenings, book presentations. Unitednationsplaza recently traveled to Mexico City and a parallel project called the Night School will continue at the New Museum through January 2009.
the Architecture Class presents:
The Pavilion: Interim Passage and Polemics in Art & Architecture - Public Lecture Series Winter Semester 2008-9
- a series of public lectures that address the pavilion as typology and idea in relation to architecture and the arts.
Jochen Volz: Unfolding an Institution: Finding Inhotim
Thursday, 13 November, 19h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Jochen Volz is the artistic director of Inhotim Centro de Arte Contemporânea, a large museum complex which was founded in 2005, situated in Brumadinho, 60 km from the capital of Minas Gerais in Brazil. The museum is unique for its combination of a botanical garden with the collection of important Brazilian and international art. In addition to a collection that includes important Brazilian and international art from the 1960s and on, Inhotim numbers a sequence of pavilions in the midst of a botanical garden. The botanical garden has been partly developed along guidelines formulated by famed landscape artist, Roberto Burle Marx. The enormous variety of plants at Inhotim makes it one of the largest botanical collections in the world, with rare tropical species and a forest reserve which is part of the Atlantic Forest biome. The pavilions and botanical garden form the core of the museum complex and, together with the art collection, support the institution’s ongoing development of research, scientific innovation and education.
In 2006 Jochen Volz guest curated the 27th São Paulo Biennial: How to Live Together, with a special exhibition project in homage to Marcel Broodthaers with Juan Araujo, Mabe Bethônico, Marcel Broodthaers, Marilá Dardot, Tacita Dean, Meschac Gaba, Goshka Macuga, Rirkrit Tiravanija, Haegue Yang. Between 2001 and 2004, he was curator of Portikus, Frankfurt am Main. As a critic he is writing for magazines and catalogues. Together with Daniel Birnbaum, he will be organizing the international section of the 53rd International Art Exhibition, Venice Biennial 2009. Jochen Volz currently holds the Heinz und Giesela Friederichs Stiftung professorship for Art and Architecture 2008-09 at Städelschule.
Abonnieren
Posts (Atom)