relational lockout - music as social space
Thursday, 15. July
Opening: 18:30
Begin of panel discussion: 19:00
concert: ca. 21:00
Avantgarde and youth culture: radical action or market differentiation?
Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
Noise, drone, improv – are these newly invigorated musical strategies a sign of the formation of a youth culture again fundamentally disapproving the commodity rationale or is it more a postmodern playful and romantic manipulation of signs, forms and channels of commoditized culture and past media types?
Martin Büsser co-founded the Ventil-Verlag publishing house as well as the book series "Testcard - Beiträge zur Popgeschichte" (Testcard - contributions to pop history). He has written many books on pop history and pop theory.
Michael Wertmüller is a sought-after composer whose works are being performed at big festivals for New Music. He also plays Free Jazz with people like Peter Brötzmann. Thomas Mahmoud celebrated successes with his band von spar. Together with Wertmüller and Marino Pliakas he founded the avantgarde-band Ives#1. Stefan Tcherepnin is a composer and musician. He works amongst other with Ei Arakawa and Merlin Carpenter. Szepanski published "Soundcultures" and founded Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki have founded the relational micro-nexus KACHELTISCH and organize the event.
concert: Thomas Mahomoud and Michael Wertmüller; Blake Fuchs
Friday, 16. July
Begin of panel discussion: 19:00
concert: ca. 21:00
Improvisation: plays, rules, technologies and communication
Institut für Feinmotorik
Felix Klopotek
Improvisation is a way of creating/demolishing rules and communication structures within the process of instant composing. How do technologies (new/abused interfaces, new/abused audio generators), spaces and personal relations to the other musicians take affect?
The Institut für Feinmotorik researches with its Octogrammoticum the improvisation with record players since the mid 1990s. On their tours they have played in the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe and Goethe-Institut in Buenos Aires. Felix Klopotek writes for Jazzthetik, Spex and Testcard; in 2002 he published the book „How they do it. Freejazz, Improvisation und Niemandsmusik“. He operates the label Grob producing the currently most important improvisational music.
concert: Institut für Feinmotorik
Saturday, 17. July
Begin of panel discussion: 19:00
concert: ca. 21:00
Leisure, fun and power play: the history of music – from sacred to commodity?
Achim Wollscheid
Lars Becker, Peter Pawlicki
Thomas Mahmoud
The use of music openly as an instrument in (micro-)politics of power has apparently changed to more subtle forms of music as a way to dampen social frictions. Although this does not exclude the possibility of transgression of the commodity rationale it makes the boundaries to be crossed less visible.
Achim Wollscheid is media artist, focusing in his works with sound, light and space and their interfaces
concert: Achim Wollscheid; Workshop band
__________________________________________________________________________________________________________________
relational lockout - Musik als sozialer Raum
Donnerstag, 15. Juli
Eröffnung: 18:30 Uhr
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Avantgarde und Jugendkultur: Radikale Aktion oder Marktdifferenzierung?
Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
Noise, Drone, Improv – sind diese teils neuerdings wiederbelebten teil- weiterentwickelten musikalischen Strategien ein Zeichen für die Formation einer Jugendkultur, die wieder fundamental die Warengesellschaft ablehnt, oder ist es eher eine postmoderne, spielerisch-romantische Manipulation von Zeichen, Formen und Kanälen der kommodifizierten Kultur und vergangener Medienformate?
Martin Büsser ist Mitbegründer des Ventil-Verlages und der Buchreihe "Testcard - Beiträge zur Popgeschichte". Zahlreiche Bücher zur Popgeschichte und Poptheorie wurden von ihm verfasst. Der klassisch ausgebildete multiinstrumentalist Michael Wertmüller ist ein gefragter Komponist, dessen Werke auf großen Festivals der Neuen Musik aufgeführt werden. Daneben spielt er Free Jazz mit so illustren Persönlichkeiten wie Peter Brötzmann. Thomas Mahmoud feierte Erfolge als Sänger mit seiner Band Von Spar. Zusammen mit Wertmüller und Marino Pliakas gründete er die Avantgarde-Band Ives#1. Stefan Tcherepnin ist Komponist und Musiker. Er Arbeitet unteranderem mit Ei Arakawa und Merlin Carpenter zusammen. Szepanski ist Herausgeber von "Soundcultures" und Gründer von Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki sind Gründer von des relationalen Mikro-Nexus KACHELTISCH und Organisatoren der Veranstaltung.
Konzert: Thomas Mahomoud und Michael Wertmüller; Blake Fuchs
Freitag, 16. Juli
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Improvisation: Spiele, Regeln, Technologien und Kommunikation
Institut für Feinmotorik
Felix Klopotek
Improvisation ist eine Möglichkeit, Regeln und Kommunikationsstrukturen im Zuge des ‚instant composing’ zu etablieren und zu zerstören. Welchen Einfluss üben dabei Technologien (neue/missbrauchte Schnittstellen, neue/missbrauchte Audiogeneratoren etc.), Räume und persönliche Beziehungen zwischen den Musikern aus?
Das Institut für Feinmotorik erforscht seit Mitte der 90er Jahre mit seinem Octogrammoticum die Improvisation an Plattenspielern ohne Schallplatten. Auf ihren Tourneen spielten sie u.a. im Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe und im Goethe-Institut in Buenos Aires. Felix Klopotek schreibt für Jazzthetik, Spex und Testcard; 2002 veröffentlichte er Buches „How they do it. Freejazz, Improvisation und Niemandsmusik“. Als Betreiber des Plattenlabels Grob produziert Klopotek die Größen der Improvisationsmusik.
Konzert: Institut für Feinmotorik
Samstag, 17. Juli
Beginn der Podiumsdiskussion 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Muße, Spaß und Machtspiel: die Geschichte der Musik
Achim Wollscheid
Ted Geier
Lars Becker, Peter Pawlicki
Thomas Mahmoud
Die offene Nutzung der Musik als Instrument (mikro-)politischer Macht wurde scheinbar von subtileren Formen der Musik als einer Möglichkeit, soziale Spannungen zu dämpfen, verdrängt. Obwohl dies die Möglichkeit zur Überwindung der Verwertungslogik nicht ausschließt, macht es doch die zu überschreitenden Grenzen weniger sichtbar.
Achim Wollscheid ist Medienkünstler, der sich in seinen Arbeiten seit 20 Jahren mit Klang, Licht, Raum und deren Schnittstellen beschäftigt.
Ted Gaier ist ein deutscher Musiker, Regisseur und Darsteller. Ted Gaier ist Gründungsmitglied und bis heute Texter, Bassist, Gitarrist und Keyboarder der Goldenen Zitronen, einer Hamburger Band.
Konzert: Achim Wollscheid; Workshopband
Mittwoch, 7. Juli 2010
"THE END-OF-YEAR PROGRAMME"
DIE STÄDELSCHULE ARCHITECTURE CLASS PRÄSENTIERT:
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010
ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN
Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation
Weitere Programmpunkte:
Donnerstag, 08.07. - 18:15
Verleihung des Günter Bock Preises.
Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.
Donnerstag, 08.07. - 18:30
DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS
Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten
Donnerstag, 08.07. - 16:30
Ausstellungseröffnung
THE SYNTHESIS OF NATURE AND ARCHITECTURE PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE
Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.
Die Ausstellung untergliedert sich in drei Teile:
VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.
SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.
OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010
ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN
Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation
Weitere Programmpunkte:
Donnerstag, 08.07. - 18:15
Verleihung des Günter Bock Preises.
Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.
Donnerstag, 08.07. - 18:30
DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS
Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten
Donnerstag, 08.07. - 16:30
Ausstellungseröffnung
THE SYNTHESIS OF NATURE AND ARCHITECTURE PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE
Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.
Die Ausstellung untergliedert sich in drei Teile:
VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.
SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.
OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.
Ewa Lajer Burcharth: Paint and Person in Chardin
Vortrag
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.
Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.
Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.
Donnerstag, 10. Juni 2010
Ei Arakawa
Vortrag
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.
Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.
Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.
Achim Menges
The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).
In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.
Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).
In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.
Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.
Bassam el Baroni
Vortrag
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.
Aleksandra Mir
Vortrag
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info
Adam Caruso
the Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.
Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.
Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.
Jimmie Durham
Vortrag
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.
Mittwoch, 26. Mai 2010
Ingo Niermann
The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).
Dienstag, 25. Mai 2010
Hal Foster
Johann Friedrich Städel Lecture 2010
Eine Veranstaltung des Instituts für Kunstkritik
Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.
Eine Veranstaltung des Instituts für Kunstkritik
Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.
Montag, 17. Mai 2010
Antek Walczak
Vortrag
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”
Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”
Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.
Clémentine Deliss
Vortrag
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info
Mittwoch, 5. Mai 2010
BONNIE CAMPLIN
Vortrag
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.
Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.
more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/
Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:
Catherine Wood:
Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?
Bonnie Camplin:
I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.
CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?
BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.
CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.
BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.
CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.
BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.
CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?
Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.
CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?
When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.
You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?
I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.
Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.
more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/
Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:
Catherine Wood:
Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?
Bonnie Camplin:
I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.
CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?
BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.
CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.
BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.
CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.
BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.
CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?
Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.
CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?
When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.
You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?
I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).
Dienstag, 4. Mai 2010
TRISHA DONNELLY
Vortrag
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris
FLORIAN PUMHÖSL
Vortrag
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.
MARION VON OSTEN
Vortrag
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too. The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.
Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too. The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.
Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).
Mittwoch, 27. Januar 2010
Mathias Poledna
Vortrag
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.
Mike Bouchet
Vortrag
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.
The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.
Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.
The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.
Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).
Samstag, 23. Januar 2010
SPACE AND TIME IN ARCHITECTURE AND EXHIBITIONS
The Architecture Class presents:
Public Panel Discussion: "Space and Time in Architecture and Exhibitions"
Monday, 25th January, 18h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The modern notions of time and space in architecture are defined in terms of mutual dependency through an unresolved, dialectical hierarchy. One is supposed to follow the other and in this manner make the other legible. However, this relation of intelligibility is problematic since we construe space from systems of projection that far exceed the extensions give in Euclidean space, and the flow and experience of time can be reduced neither to a discrete nor a continueous condition. Nowhere is this unresolved relation between time and space more clear than in exhibitions - whether in art or architecture. These events use narratives and compositional adjacency relations in spatial terms to propose temporally defined relations.
*Jeffrey Kipnis*
Jeffrey Kipnis, currently a professor at Knowlton School of Architecture, Ohio State University and a visiting professor at Harvard, Colombia and Angewandte Kunst, Vienna is a world renowned architectural critic, educator and author. His work attempts to define and correlate the intellectual, cultural and political role of contemporary architecture – ranging from his writing which include:/ Toward a New Architecture/, /Twisting the Separatrix/ and /Political Space I/, to studies on 20^th century key figures such as Philip Johnson, Peter Eisenman, Rem Koolhaas and Daniel Libeskind, to various exhibitions on architectural drawing and design and his award-winning film on the work of Frank Gehry.
*Ben van Berkel*
Ben van Berkel is the Dean of the Städelschule Architecture Class and the co-founder of UNStudio. He has co-authored a number of books and essays and has been a visiting lecturer at Princeton, Columbia University, Harvard, the Berlage Institute and UCLA. Central to his work is an interest in the integration of construction and architecture. Recent projects include the Mercedes-Benz Museum in Stuttgart; the restructuring of the station area of Arnhem, The New Amsterdam Plein & Pavilion in Battery Park New York, the MUMUTH Music Theatre in Graz and the Raffles City development in Hangzhou, China.
*Johan Bettum*
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class. He has also taught at the AA, UCLA, the Berlage Institute, Innsbruck University, the EPFL in Lausanne and Oslo School of Architecture. Bettum has a PhD in fibre-reinforced material systems entitled /The Material Geometry of Fibre-Reinforced Polymer Matrix Composites and Architectural Tectonics./ He has written for a number of prominent publications while his work is repeatedly published in Graz Architecture Magazine, Domus and Architecture Design (AD) to name but a few. His practice, ArchiGlobe, focuses on architecture within the context of research and experiments.
*Nikolaus Hirsch*
Nikolaus Hirsch is a Stiftungsprofessor at the 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”.
Public Panel Discussion: "Space and Time in Architecture and Exhibitions"
Monday, 25th January, 18h, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
The modern notions of time and space in architecture are defined in terms of mutual dependency through an unresolved, dialectical hierarchy. One is supposed to follow the other and in this manner make the other legible. However, this relation of intelligibility is problematic since we construe space from systems of projection that far exceed the extensions give in Euclidean space, and the flow and experience of time can be reduced neither to a discrete nor a continueous condition. Nowhere is this unresolved relation between time and space more clear than in exhibitions - whether in art or architecture. These events use narratives and compositional adjacency relations in spatial terms to propose temporally defined relations.
*Jeffrey Kipnis*
Jeffrey Kipnis, currently a professor at Knowlton School of Architecture, Ohio State University and a visiting professor at Harvard, Colombia and Angewandte Kunst, Vienna is a world renowned architectural critic, educator and author. His work attempts to define and correlate the intellectual, cultural and political role of contemporary architecture – ranging from his writing which include:/ Toward a New Architecture/, /Twisting the Separatrix/ and /Political Space I/, to studies on 20^th century key figures such as Philip Johnson, Peter Eisenman, Rem Koolhaas and Daniel Libeskind, to various exhibitions on architectural drawing and design and his award-winning film on the work of Frank Gehry.
*Ben van Berkel*
Ben van Berkel is the Dean of the Städelschule Architecture Class and the co-founder of UNStudio. He has co-authored a number of books and essays and has been a visiting lecturer at Princeton, Columbia University, Harvard, the Berlage Institute and UCLA. Central to his work is an interest in the integration of construction and architecture. Recent projects include the Mercedes-Benz Museum in Stuttgart; the restructuring of the station area of Arnhem, The New Amsterdam Plein & Pavilion in Battery Park New York, the MUMUTH Music Theatre in Graz and the Raffles City development in Hangzhou, China.
*Johan Bettum*
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class. He has also taught at the AA, UCLA, the Berlage Institute, Innsbruck University, the EPFL in Lausanne and Oslo School of Architecture. Bettum has a PhD in fibre-reinforced material systems entitled /The Material Geometry of Fibre-Reinforced Polymer Matrix Composites and Architectural Tectonics./ He has written for a number of prominent publications while his work is repeatedly published in Graz Architecture Magazine, Domus and Architecture Design (AD) to name but a few. His practice, ArchiGlobe, focuses on architecture within the context of research and experiments.
*Nikolaus Hirsch*
Nikolaus Hirsch is a Stiftungsprofessor at the 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”.
Dienstag, 19. Januar 2010
Rundgang 2010
Jahresausstellung der Studierenden der
Städelschule
Eröffnung mit Preisverleihung: Freitag, 12. Februar 2010, 18 Uhr, Dürerstrasse 10
Party: ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2010
Öffnungszeiten: 10 – 20 Uhr
Shuttlebus zwischen Dürer- und Daimlerstraße am Wochenende ab 11Uhr stündlich.
Eintritt Frei!
Mit freundlicher Unterstützung von:
Städelschule Portikus e.V.
Hans und Stefan Bernbeck-Stiftung
Lohr & Schach
Delbrück Bethmann Maffei ABN AMRO AG
Linklaters LLP
Haus & Grund Deutschland
Landwirtschaftliche Rentenbank
Frankfurter Verein für Künstlerhilfe e.V.
Ernst & Young GmbH
Albig-Stiftung
Agassi F. Bangura & Claus Rasmussen
"African fitness Studio" Installation, verschiedene Materialien, 2009
Städelschule
Eröffnung mit Preisverleihung: Freitag, 12. Februar 2010, 18 Uhr, Dürerstrasse 10
Party: ab 22 Uhr, Daimlerstrasse 32 – 36
Ausstellungsdauer: 13. bis 15. Februar 2010
Öffnungszeiten: 10 – 20 Uhr
Shuttlebus zwischen Dürer- und Daimlerstraße am Wochenende ab 11Uhr stündlich.
Eintritt Frei!
Mit freundlicher Unterstützung von:
Städelschule Portikus e.V.
Hans und Stefan Bernbeck-Stiftung
Lohr & Schach
Delbrück Bethmann Maffei ABN AMRO AG
Linklaters LLP
Haus & Grund Deutschland
Landwirtschaftliche Rentenbank
Frankfurter Verein für Künstlerhilfe e.V.
Ernst & Young GmbH
Albig-Stiftung
Agassi F. Bangura & Claus Rasmussen
"African fitness Studio" Installation, verschiedene Materialien, 2009
Montag, 14. Dezember 2009
REBECCA BLIGH
Vortrag
Rebecca Bligh: "Autism: Systemizing, and Styles of Thinking."
Mittwoch, 16. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture will explore current theories of autism; those of Professor Simon Baron-Cohen of the Autism Research Centre in Cambridge, and those of Dr. Temple Grandin, next to “Rain Man” the most renowned autistic person on the planet. Particular attention will be paid to the relevance of 'brain sex' to the tendency to 'hypersystemize' (Baron-Cohen) and to the various thinking styles Grandin describes as typical of autism, understood, in both cases, as extremes on a continuum to which we all belong, neuro-typical and -atypical alike.
Rebecca Bligh is a London-based writer and academic who is doing a PhD at Goldsmiths on the French phenomenologist Henry Corbin. Outside the confines of doctoral research, Rebecca has published on diverse subjects, most recently “Readers Wives” pornography, and libraries.
Rebecca Bligh: "Autism: Systemizing, and Styles of Thinking."
Mittwoch, 16. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture will explore current theories of autism; those of Professor Simon Baron-Cohen of the Autism Research Centre in Cambridge, and those of Dr. Temple Grandin, next to “Rain Man” the most renowned autistic person on the planet. Particular attention will be paid to the relevance of 'brain sex' to the tendency to 'hypersystemize' (Baron-Cohen) and to the various thinking styles Grandin describes as typical of autism, understood, in both cases, as extremes on a continuum to which we all belong, neuro-typical and -atypical alike.
Rebecca Bligh is a London-based writer and academic who is doing a PhD at Goldsmiths on the French phenomenologist Henry Corbin. Outside the confines of doctoral research, Rebecca has published on diverse subjects, most recently “Readers Wives” pornography, and libraries.
KEREN CYTTER
Vortrag
Keren Cytter: Integral outlines
Dienstag, 15. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Keren Cytter currently lives and works in Berlin. Recent solo exhibitions include CCA Center for Contemporary Art, Kitakyushu (2009), X-Initiative, NY (2009), Witte de With, Rotterdam (2008), and MUMOK, Vienna (2007). Her work is currently featured in the 53rd Venice Biennale and was included in group shows such as Television Delivers People, the Whitney Museum of American Art, New York (2008), Manifesta 7, Trentino (2008) and the Yokohama Triennale, Yokohama (2008). She was nominated for the Preis der Nationalgalerie für Junge Kunst 2009, Berlin. Cytter is the author of three novels, most recently The True Story of MosheKlinberg, 2009, Onestar Press, Paris.
Keren Cytter: Integral outlines
Dienstag, 15. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Keren Cytter currently lives and works in Berlin. Recent solo exhibitions include CCA Center for Contemporary Art, Kitakyushu (2009), X-Initiative, NY (2009), Witte de With, Rotterdam (2008), and MUMOK, Vienna (2007). Her work is currently featured in the 53rd Venice Biennale and was included in group shows such as Television Delivers People, the Whitney Museum of American Art, New York (2008), Manifesta 7, Trentino (2008) and the Yokohama Triennale, Yokohama (2008). She was nominated for the Preis der Nationalgalerie für Junge Kunst 2009, Berlin. Cytter is the author of three novels, most recently The True Story of MosheKlinberg, 2009, Onestar Press, Paris.
Freitag, 11. Dezember 2009
CONFERENCE "FAREWELL TO CONTEMPORARY ART?"
Tagung
"Farewell To Contemporary Art?"
A Conference in two parts
Teil 1: Montag, 14. Dezember, 14-20 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Die Veranstaltung ist eine Zusammenarbeit mit der ALLIANZ KULTURSTIFTUNG
Speakers: Alexander Alberro, Carrie Lambert-Beatty, Jack Bankowsky
Response: Vanessa Joan Müller, Stefan Deines, Isabelle Graw, Daniel Birnbaum
The category “Contemporary Art” has risen to a label full of promise. This is true for the city of Frankfurt in particular, where the expansion of the Städelmuseum has been justified with the need for collecting Contemporary Art. “Contemporary Art” is a composite term which contains a double charge: it promises “art” and an edgy timeline. It therefore fuses two assumptions of value. As much as “Art” is a term with an evaluative dimension, refering back to the idealist notion of a trans-historical truth and disinterestedness, “contemporary” is a slightly unspecific designator of time because it can designate what is happening at this very moment but also point to the last ten years. Since the 1990´s, contemporariness has come to be firmly associated with hipness and being “in”, and so the contemporary art enthusiast is entitled to see himself as a member of those in the know. Yet the label “contemporary art” also allowed the art world to lose its reputation for elitism. It suggests that being of your time is all it takes to understand this art, for it, too, is a phenomenon of its time. This attempt at popularisation implicit in the principle of contemporary art has worked out well. But it came at a price – the disrespect paid to the traditional specialized knowledge that is indispensable to a proper understanding of artistic practice.
But what happens when this double presumption of value on which the symbolic charisma of contemporary art is founded upon ceases to be self-evident – a process we can currently observe taking place as a consequence of the global economic crisis? Every economic crisis is also a crisis of confidence: our trust in values, both economic and symbolic, is profoundly shaken. Just as the “boom” is now a thing of the past, the principle of “Contemporary Art”, too, epitomizes a past era, despite its invocation of contemporariness. Should we, then, drop the term “contemporary art” altogether because the claim to value it presupposes has always been questionable and is now surely more questionable?
ISABELLE GRAW
Dr. Isabelle Graw is a Professor of Art History and Criticism at the Staatliche Hochschule für Bildende Künste - Städelschule.
DANIEL BIRNBAUM
Rector of the Städelschule and director of Portikus.
VANESSA JOAN MÜLLER
Müller has been the director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf since September 2006.
Müller graduated from the Ruhr-Universität in Bochum with a degree in art history and film studies. From 2000 to 2005 she worked as a curator at the Frankfurter Kunstverein and in late 2005 became academic director of the project “European Kunsthalle” in Cologne, which explores different models for a potential art institution.
Vanessa Joan Müller has curated exhibitions such as “non-places” (Frankfurter Kunstverein, 2002), “New Heimat” (Frankfurter Kunstverein, 2001) and “Adorno. The possibility of the impossible” (co-curated with Nicolaus Schafhausen, Frankfurter Kunstverein, 2004) and devised a programme of lectures and events entitled “Under Construction” for the European Kunsthalle, also with Nicolaus Schafhausen. Numerous publications on contemporary art and art theory confirm her position as a curator with a strong interest in contemporary art and its social and philosophical contexts.
She has written for numerous artist’s editions and catalogues, including those of De Rijke/De Rooij & Christopher Williams, Isa Genzken, Henning Bohl and Silke Schatz. She is co-author of Adorno. Die Möglichkeit des Unmöglichen (Frankfurter Kunstverein, 2003) and Palermo (Kunsthalle Düsseldorf & Künstverein Düsseldorf, 2007).
STEFAN DEINES
Stefan Deines teaches Philosophy at the Goethe University of Frankfurt am Main; he wrote his PhD thesis on the subject Immanent Critique. Models of Critical Agency in Hermeneutics, Post-Structuralisms and Neo-Pragmatism; his main fields of interest include Critical Theory, Philosophy of History, Aesthetics and Philosophy of Art.
ALEXANDER ALBERRO
Columbia University, New York
Virginia Bloedel Wright Associate Professor of Art History, Barnard
Modern and contemporary Art; History of Photography
Ph.D., Northwestern, 1996
Alexander Alberro's courses and graduate advising is in the area of modern and contemporary European, U.S., and Latin American art, as well as in the history of photography. His essays on modern and contemporary art have appeared in a wide variety of journals and exhibition catalogues. He is also the author of Conceptual Art and the Politics of Publicity (2003), and has edited a number of books on contemporary art for MIT Press and the University of California Press, including Institutional Critique: An Anthology of Artists Writings; Art After Conceptual Art; Museum Fictions; Recording Conceptual Art; Two-Way Mirror Power; and Conceptual Art: A Critical Anthology. Alberro is currently completing book-length study of the emergence and development of abstract art in Latin America and is beginning to work on a volume that explores new forms of art and spectatorship that have crystallized in the past two decades.
CARRIE LAMBERT-BEATTY
Harvard University, Cambridge
Assistant Professor of Visual and Environmental Studies and of History of Art and Architecture
Department of Visual and Environmental Studies
Lambert-Beatty is an art historian whose research focuses on art since 1960, especially performance and video. She received her PhD from Stanford University in 2002, and has been a fellow at the Whitney Museum of American Art Independent Study Program and the Getty Research Institute. Her writing on performance art, postmodern dance, and minimalism has been published in exhibition catalogs and in journals such as Trans, Art Journal, and October magazine, of which she has been an editor since 2008. Her book Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008) was the 2008 winner of the de la Torre prize for scholarship on dance. Lambert-Beatty is working on a new project on recent intersections of art and activism, parts of which have been published in the journal Signs (Winter 2008) and October (Summer 2009).
JACK BANKOWSKY
was the Editor-in-Chief of Artforum throughout the 1990s (1992-2003) and the founding editor of Artforum's sister publication, Bookforum, where he was editor from 1996 to 1998. He is currently Editor-at-Large of Artforum and a freelance critic and curator. Bankowsky has served on the juries of Takashi Murakami's GEISAI art fair and the Venice Biennale, and his controversial contemporary survey exhibition, "Pop Life: Art in a Material World," (co-curated with Alison Gingeras and Catherine Wood) is scheduled to open at Tate Modern in the fall of 2009. A visiting scholar at Yale University in the fall of 2004 and 2005, and at UCLA in 2008, he has lectured extensively on contemporary art. Recent writings have addressed the art of David Hammons, Louise Lawler, Jason Rhoades, and Richard Prince. Bankowsky's essay "Ciao Rensselaerville," on the latter artist's work, appears in the catalogue of his 2007 Solomon R. Guggenheim Museum retrospective.
"Farewell To Contemporary Art?"
A Conference in two parts
Teil 1: Montag, 14. Dezember, 14-20 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Die Veranstaltung ist eine Zusammenarbeit mit der ALLIANZ KULTURSTIFTUNG
Speakers: Alexander Alberro, Carrie Lambert-Beatty, Jack Bankowsky
Response: Vanessa Joan Müller, Stefan Deines, Isabelle Graw, Daniel Birnbaum
The category “Contemporary Art” has risen to a label full of promise. This is true for the city of Frankfurt in particular, where the expansion of the Städelmuseum has been justified with the need for collecting Contemporary Art. “Contemporary Art” is a composite term which contains a double charge: it promises “art” and an edgy timeline. It therefore fuses two assumptions of value. As much as “Art” is a term with an evaluative dimension, refering back to the idealist notion of a trans-historical truth and disinterestedness, “contemporary” is a slightly unspecific designator of time because it can designate what is happening at this very moment but also point to the last ten years. Since the 1990´s, contemporariness has come to be firmly associated with hipness and being “in”, and so the contemporary art enthusiast is entitled to see himself as a member of those in the know. Yet the label “contemporary art” also allowed the art world to lose its reputation for elitism. It suggests that being of your time is all it takes to understand this art, for it, too, is a phenomenon of its time. This attempt at popularisation implicit in the principle of contemporary art has worked out well. But it came at a price – the disrespect paid to the traditional specialized knowledge that is indispensable to a proper understanding of artistic practice.
But what happens when this double presumption of value on which the symbolic charisma of contemporary art is founded upon ceases to be self-evident – a process we can currently observe taking place as a consequence of the global economic crisis? Every economic crisis is also a crisis of confidence: our trust in values, both economic and symbolic, is profoundly shaken. Just as the “boom” is now a thing of the past, the principle of “Contemporary Art”, too, epitomizes a past era, despite its invocation of contemporariness. Should we, then, drop the term “contemporary art” altogether because the claim to value it presupposes has always been questionable and is now surely more questionable?
ISABELLE GRAW
Dr. Isabelle Graw is a Professor of Art History and Criticism at the Staatliche Hochschule für Bildende Künste - Städelschule.
DANIEL BIRNBAUM
Rector of the Städelschule and director of Portikus.
VANESSA JOAN MÜLLER
Müller has been the director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf since September 2006.
Müller graduated from the Ruhr-Universität in Bochum with a degree in art history and film studies. From 2000 to 2005 she worked as a curator at the Frankfurter Kunstverein and in late 2005 became academic director of the project “European Kunsthalle” in Cologne, which explores different models for a potential art institution.
Vanessa Joan Müller has curated exhibitions such as “non-places” (Frankfurter Kunstverein, 2002), “New Heimat” (Frankfurter Kunstverein, 2001) and “Adorno. The possibility of the impossible” (co-curated with Nicolaus Schafhausen, Frankfurter Kunstverein, 2004) and devised a programme of lectures and events entitled “Under Construction” for the European Kunsthalle, also with Nicolaus Schafhausen. Numerous publications on contemporary art and art theory confirm her position as a curator with a strong interest in contemporary art and its social and philosophical contexts.
She has written for numerous artist’s editions and catalogues, including those of De Rijke/De Rooij & Christopher Williams, Isa Genzken, Henning Bohl and Silke Schatz. She is co-author of Adorno. Die Möglichkeit des Unmöglichen (Frankfurter Kunstverein, 2003) and Palermo (Kunsthalle Düsseldorf & Künstverein Düsseldorf, 2007).
STEFAN DEINES
Stefan Deines teaches Philosophy at the Goethe University of Frankfurt am Main; he wrote his PhD thesis on the subject Immanent Critique. Models of Critical Agency in Hermeneutics, Post-Structuralisms and Neo-Pragmatism; his main fields of interest include Critical Theory, Philosophy of History, Aesthetics and Philosophy of Art.
ALEXANDER ALBERRO
Columbia University, New York
Virginia Bloedel Wright Associate Professor of Art History, Barnard
Modern and contemporary Art; History of Photography
Ph.D., Northwestern, 1996
Alexander Alberro's courses and graduate advising is in the area of modern and contemporary European, U.S., and Latin American art, as well as in the history of photography. His essays on modern and contemporary art have appeared in a wide variety of journals and exhibition catalogues. He is also the author of Conceptual Art and the Politics of Publicity (2003), and has edited a number of books on contemporary art for MIT Press and the University of California Press, including Institutional Critique: An Anthology of Artists Writings; Art After Conceptual Art; Museum Fictions; Recording Conceptual Art; Two-Way Mirror Power; and Conceptual Art: A Critical Anthology. Alberro is currently completing book-length study of the emergence and development of abstract art in Latin America and is beginning to work on a volume that explores new forms of art and spectatorship that have crystallized in the past two decades.
CARRIE LAMBERT-BEATTY
Harvard University, Cambridge
Assistant Professor of Visual and Environmental Studies and of History of Art and Architecture
Department of Visual and Environmental Studies
Lambert-Beatty is an art historian whose research focuses on art since 1960, especially performance and video. She received her PhD from Stanford University in 2002, and has been a fellow at the Whitney Museum of American Art Independent Study Program and the Getty Research Institute. Her writing on performance art, postmodern dance, and minimalism has been published in exhibition catalogs and in journals such as Trans, Art Journal, and October magazine, of which she has been an editor since 2008. Her book Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008) was the 2008 winner of the de la Torre prize for scholarship on dance. Lambert-Beatty is working on a new project on recent intersections of art and activism, parts of which have been published in the journal Signs (Winter 2008) and October (Summer 2009).
JACK BANKOWSKY
was the Editor-in-Chief of Artforum throughout the 1990s (1992-2003) and the founding editor of Artforum's sister publication, Bookforum, where he was editor from 1996 to 1998. He is currently Editor-at-Large of Artforum and a freelance critic and curator. Bankowsky has served on the juries of Takashi Murakami's GEISAI art fair and the Venice Biennale, and his controversial contemporary survey exhibition, "Pop Life: Art in a Material World," (co-curated with Alison Gingeras and Catherine Wood) is scheduled to open at Tate Modern in the fall of 2009. A visiting scholar at Yale University in the fall of 2004 and 2005, and at UCLA in 2008, he has lectured extensively on contemporary art. Recent writings have addressed the art of David Hammons, Louise Lawler, Jason Rhoades, and Richard Prince. Bankowsky's essay "Ciao Rensselaerville," on the latter artist's work, appears in the catalogue of his 2007 Solomon R. Guggenheim Museum retrospective.
FRANCES SCHOLZ UND MARK VON SCHLEGELL
Frances Scholz und Mark von Schlegell: Inversions
Mittwoch, 9. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englisch und deutscher Sprache statt.
Frances Scholz wurde 1962 in Washington D.C. in den USA geboren, studierte an der Universität der Künste Berlin und lebt seit 1988 in Köln. 2002 wurde sie an die Hochschule für Bildende Künste Braunschweig berufen.
"Contemporary writer" Mark von Schlegell is a dual Irish and American citizen. He was born in New York and lives in Cologne. He is the author of the novels Venusia (2005) and Mercury Station (2009) published by M.I.T./Semiotext(e). Venusia was honor’s listed for the 2007 James Tiptree, Jr. Prize in science fiction. His experimental fiction and cultural criticism appear regularly in the international art world. Realometer (2009), a collection of literary essays on Poe, Melville and James Tiptree, Jr. is available from Merve Verlag, Berlin in German.
Mittwoch, 9. Dezember, 19 Uhr, Aula
Die Veranstaltung findet in englisch und deutscher Sprache statt.
Frances Scholz wurde 1962 in Washington D.C. in den USA geboren, studierte an der Universität der Künste Berlin und lebt seit 1988 in Köln. 2002 wurde sie an die Hochschule für Bildende Künste Braunschweig berufen.
"Contemporary writer" Mark von Schlegell is a dual Irish and American citizen. He was born in New York and lives in Cologne. He is the author of the novels Venusia (2005) and Mercury Station (2009) published by M.I.T./Semiotext(e). Venusia was honor’s listed for the 2007 James Tiptree, Jr. Prize in science fiction. His experimental fiction and cultural criticism appear regularly in the international art world. Realometer (2009), a collection of literary essays on Poe, Melville and James Tiptree, Jr. is available from Merve Verlag, Berlin in German.
SUSANNE GAENSHEIMER
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.
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.
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).
Abonnieren
Posts (Atom)