Konferenz
Art and Subjecthood – a Conference on the Return of the Human Figure in Semiocapitalism
Freitag, 1. Juli 2011, 15-21 Uhr, Lichthof
Initiiert vom Institut für Kunstkritik (Isabelle Graw, Daniel Birnbaum, Nikolaus Hirsch)
Many art works today evoke the human figure: Consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This conference seeks to speculate on the reasons as to why, since the turn of the Millennium, we have encountered so many art works that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi´s theory of semiocapitalism – a power technology that aims squarely at our human resources. The participants of this conference are asked to offer possible explanations for this wide acceptance of anthropomorphism – could it be that this is a manifestation of the increasingly desperate desire for art to have agency?
Participants: Hal Foster, Caroline Busta, Michael Sanchez, Ina Blom, Jutta Koether
Respondents: Stefan Deines, Stefanie Heraeus, Magdalena Nieslony, Oliver Brokel
Art and Subjecthood
The Return of the Human Figure in Semiocapitalism
3 pm Welcome (Nikolaus Hirsch)
3.30 pm Introduction Isabelle Graw "When Objecthood turns into Subjecthood"
4 pm Hal Foster "Philosophical Toys & Psychoanalytical Travesties: Dolls, Puppets & Mannequins in the 1920s"
5 pm Caroline Busta
“Body Doubles“
6 pm Michael Sanchez “Behavioral: Some Thoughts on Art Under Network Capitalism“
7 pm Ina Blom
"Media Animism. Rachel Harrison's Living Images"
8 pm Jutta Koether „Mad Garlands”
The conference is part of the project „Art and Life“ and made possible by Kulturfonds Frankfurt RheinMain
Donnerstag, 23. Juni 2011
Tom Humphreys
Vortrag
Tom Humphreys
Mittwoch, 29. Juni, 19 Uhr, Aula
Tom Humphreys is an artist living in London. From 2003 until 2007, he organised an exhibition programme in his house on Broadway Market, which he titled "Flaca". He invited artists that were close to him in different ways, through their work or through personal relationships. He has been invited to do the upcoming exhibition at Portikus, for which he developed a group exhibition that will somehow question the activities of that time in a new environment, implicating a critical relationship to the past rather than presenting a static historical perspective. He will speak about a variety of things, ranging from his own work to Flaca and his exhibition at Portikus.
The exhibition "Flaca / Tom Humphreys" encompasses works by Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins and Alexander Wolff
Tom Humphreys
Mittwoch, 29. Juni, 19 Uhr, Aula
Tom Humphreys is an artist living in London. From 2003 until 2007, he organised an exhibition programme in his house on Broadway Market, which he titled "Flaca". He invited artists that were close to him in different ways, through their work or through personal relationships. He has been invited to do the upcoming exhibition at Portikus, for which he developed a group exhibition that will somehow question the activities of that time in a new environment, implicating a critical relationship to the past rather than presenting a static historical perspective. He will speak about a variety of things, ranging from his own work to Flaca and his exhibition at Portikus.
The exhibition "Flaca / Tom Humphreys" encompasses works by Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins and Alexander Wolff
Montag, 23. Mai 2011
Paul Glover
Vortrag
Paul Glover: Print Your Own Money - Community Currency Systems
Mittwoch, 25. Mai, 19 Uhr, Time/Bank im Portikus
Frankfurt is the European capitol of finance, therefore you should all be rich. Frankfurt-based Deutsche Börse will soon purchase the New York Stock Exchange. So everyone here should have no financial problems. There should be enough money for all your needs. But perhaps you know someone here who has not enough money. Perhaps they are an artist, since most artists typically have not enough money. And many artists have little business sense ...
Even so, because artists are cultural leaders they can become financial leaders. That’s because money is primarily a cultural product. Money often takes the form of official-looking pieces of paper designed by artists. And the credibility of any money depends on cultural messages that validate the institutions claiming power over commerce. So artists can create their own money. And it will not be monopoly money. It will be anti-monopoly money. It will be real money to the extent people trade with it.
Paul Glover is the founder of Ithaca HOURS local currency and author of Hometown Money. He is founder of several other mutual-aid systems for food, fuel, housing, health care.
Paul Glover: Print Your Own Money - Community Currency Systems
Mittwoch, 25. Mai, 19 Uhr, Time/Bank im Portikus
Frankfurt is the European capitol of finance, therefore you should all be rich. Frankfurt-based Deutsche Börse will soon purchase the New York Stock Exchange. So everyone here should have no financial problems. There should be enough money for all your needs. But perhaps you know someone here who has not enough money. Perhaps they are an artist, since most artists typically have not enough money. And many artists have little business sense ...
Even so, because artists are cultural leaders they can become financial leaders. That’s because money is primarily a cultural product. Money often takes the form of official-looking pieces of paper designed by artists. And the credibility of any money depends on cultural messages that validate the institutions claiming power over commerce. So artists can create their own money. And it will not be monopoly money. It will be anti-monopoly money. It will be real money to the extent people trade with it.
Paul Glover is the founder of Ithaca HOURS local currency and author of Hometown Money. He is founder of several other mutual-aid systems for food, fuel, housing, health care.
Richard Wentworth
Vortrag
Richard Wentworth: Having a baby
Dienstag, 24. Mai, 19 Uhr, Aula
Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuro scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival.
Wentworth looks closely at the present by espousing the past. Looking back enables us to understand why and how we move forward. By excavating history and looking closely at the material ‘now’, Wentworth collates and assembles a vivacious archaeology of the world we live in. He reveals that which is curious, ironic, poetic and slight amidst the clutter of daily living.
Wentworth has recently exhibited in Making Worlds at the Venice Biennale (2009), presented an evolving project – A Confiscation of String- at the Whitechapel Art Gallery (2009) and curated Boule to Braid, for Lisson gallery, London (2009) . His botanical guide, using enamel signs, at the Folkestone Triennial (2008) is now a permanent public work. In 2005, Tate Liverpool presented a comprehensive exhibition including works such as False Ceiling, 1995 and Mirror Mirror, 2003. Wentworth worked closely with Artangel at King’s Cross, London (2002) on An Area of Outstanding Unnatural Beauty. Wentworth is the newly appointed Head of Sculpture at Royal College of Art. He is represented by the Lisson Gallery, London.
Richard Wentworth: Having a baby
Dienstag, 24. Mai, 19 Uhr, Aula
Richard Wentworth is a chronicler of daily life. Since the 1970s he has played a leading role in British sculpture, isolating both the formal and sculptural qualities of everyday objects. His extensive archive of photographs, ‘Making Do and Getting By’ (1974 onwards), captures the provisional ways in which people modify the world they inhabit. It suggests an infinite syntax of adjustment, modification and appropriation. The neuro scientist Mark Lythgoe has suggested that the private smile which spectators experience when looking at Wentworth’s work is associated with a deep human capacity to associate the inventive and creative with an internalized highway code for survival.
Wentworth looks closely at the present by espousing the past. Looking back enables us to understand why and how we move forward. By excavating history and looking closely at the material ‘now’, Wentworth collates and assembles a vivacious archaeology of the world we live in. He reveals that which is curious, ironic, poetic and slight amidst the clutter of daily living.
Wentworth has recently exhibited in Making Worlds at the Venice Biennale (2009), presented an evolving project – A Confiscation of String- at the Whitechapel Art Gallery (2009) and curated Boule to Braid, for Lisson gallery, London (2009) . His botanical guide, using enamel signs, at the Folkestone Triennial (2008) is now a permanent public work. In 2005, Tate Liverpool presented a comprehensive exhibition including works such as False Ceiling, 1995 and Mirror Mirror, 2003. Wentworth worked closely with Artangel at King’s Cross, London (2002) on An Area of Outstanding Unnatural Beauty. Wentworth is the newly appointed Head of Sculpture at Royal College of Art. He is represented by the Lisson Gallery, London.
Eyal Weizman
Vortrag
Eyal Weizman: Forensic Aesthetics, the Sequel
Montag, 23. Mai, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
In this second of his Forensic Architecture lecture series Weizman will go both forwards and backwards, unearthing some origins of the term and using them to outline a projective practice that constructs arenas and forums - that is future communities of practice - around a set of negotiations with and around things.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Eyal Weizman: Forensic Aesthetics, the Sequel
Montag, 23. Mai, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
In this second of his Forensic Architecture lecture series Weizman will go both forwards and backwards, unearthing some origins of the term and using them to outline a projective practice that constructs arenas and forums - that is future communities of practice - around a set of negotiations with and around things.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Samstag, 14. Mai 2011
Lucie Stahl
Vortrag
Lucie Stahl
Mittwoch, 18. Mai, 19 Uhr, Aula
In ihren Plakatarbeiten arrangiert Lucie Stahl selbst verfasste englische Texte gemeinsam mit Alltagsobjekten wie Pfeffermühlen, Flüssigkeiten, Krawatten auf einem Scanner und gießt die daraus resultierenden Inkjet-Prints in Polyurethan ein. In den selbstironischen Kurzkommentaren offenbart sie nicht nur ihre subjektiven Beobachtungen gesellschaftlicher und politischer Ereignisse, sondern gibt auch offen Einsicht in den Wettbewerb unter Künstlerkollegen oder die Hysterie, die der künstlerischen Produktion unterliegt.
Lucie Stahl lebt in Wien. Ihre Arbeiten zeigte sie unter anderem in Einzelausstellungen im Kölnischen Kunstverein (mit Bela Kolarova, 2011), Kunstverein Nürnberg (2009), in der Dépendance, Brüssel (2005 mit Stefan Müller und 2008), der Galerie Michael Neff, Frankfurt (2007) und im Flaca, London (2005). Sie wird vertreten von Dépendance, Brüssel und Galerie Meyer Kainer, Wien. Seit 2008 leitet sie gemeinsam mit Will Benedict den Ausstellungsraum Pro Choice in Wien.
Lucie Stahl
Mittwoch, 18. Mai, 19 Uhr, Aula
In ihren Plakatarbeiten arrangiert Lucie Stahl selbst verfasste englische Texte gemeinsam mit Alltagsobjekten wie Pfeffermühlen, Flüssigkeiten, Krawatten auf einem Scanner und gießt die daraus resultierenden Inkjet-Prints in Polyurethan ein. In den selbstironischen Kurzkommentaren offenbart sie nicht nur ihre subjektiven Beobachtungen gesellschaftlicher und politischer Ereignisse, sondern gibt auch offen Einsicht in den Wettbewerb unter Künstlerkollegen oder die Hysterie, die der künstlerischen Produktion unterliegt.
Lucie Stahl lebt in Wien. Ihre Arbeiten zeigte sie unter anderem in Einzelausstellungen im Kölnischen Kunstverein (mit Bela Kolarova, 2011), Kunstverein Nürnberg (2009), in der Dépendance, Brüssel (2005 mit Stefan Müller und 2008), der Galerie Michael Neff, Frankfurt (2007) und im Flaca, London (2005). Sie wird vertreten von Dépendance, Brüssel und Galerie Meyer Kainer, Wien. Seit 2008 leitet sie gemeinsam mit Will Benedict den Ausstellungsraum Pro Choice in Wien.
Elizabeth Povinelli
Vortrag
Elizabeth Povinelli: Time/Banks, Routes/Worlds
Dienstag, 17. Mai, 19 Uhr, Portikus
With the Portikus project, “Time/Bank” as backdrop, Elizabeth Povinelli examines the raveling and unraveling of social worlds as a dynamic relationship between social networks and enclosures. “Time/Banks, Routes/Worlds” begins with a discussion of the anthropology of the gift as a genealogical background to Latour’s network theory and Sloterdjik’s theory of spheres, demonstrating how the circulation of things creates spatial folds in which social worlds emerge and people dwell. In other words, whether gifts of skill-time, ritual objects, humans, or commodities, things do not simply move, they figure space and are figured by space; they are the condition of previous circulatory matrixes and become part of the matrix that conditions what other kinds of things can pass through and be made sense of within this figured space; and they create the deficits and excess out of which new forms of life emerge. Povinelli's ongoing projects - a graphic memoir (old media) and a smart phone based augmented reality program (new media) - examine the relationship among representation, mediation, and the raveling and unraveling of worlds in the context of historical reformations of global capital and state power.
Elizabeth Povinelli is a professor of anthropology and gender studies at Columbia University in New York. She is the author of three books, including "The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality".
Elizabeth Povinelli: Time/Banks, Routes/Worlds
Dienstag, 17. Mai, 19 Uhr, Portikus
With the Portikus project, “Time/Bank” as backdrop, Elizabeth Povinelli examines the raveling and unraveling of social worlds as a dynamic relationship between social networks and enclosures. “Time/Banks, Routes/Worlds” begins with a discussion of the anthropology of the gift as a genealogical background to Latour’s network theory and Sloterdjik’s theory of spheres, demonstrating how the circulation of things creates spatial folds in which social worlds emerge and people dwell. In other words, whether gifts of skill-time, ritual objects, humans, or commodities, things do not simply move, they figure space and are figured by space; they are the condition of previous circulatory matrixes and become part of the matrix that conditions what other kinds of things can pass through and be made sense of within this figured space; and they create the deficits and excess out of which new forms of life emerge. Povinelli's ongoing projects - a graphic memoir (old media) and a smart phone based augmented reality program (new media) - examine the relationship among representation, mediation, and the raveling and unraveling of worlds in the context of historical reformations of global capital and state power.
Elizabeth Povinelli is a professor of anthropology and gender studies at Columbia University in New York. She is the author of three books, including "The Empire of Love: Toward a Theory of Intimacy, Genealogy, and Carnality".
Raimundas Malasauskas
Führung / Guided Tour
Raimundas Malasauskas: The Future of Tradition
Dienstag, 17. Mai, 18 Uhr, Portikus
Raimundas Malasauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age", David Roberts Art Foundation, London (2009); "Into the Belly of a Dove", Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island", Centre Georges Pompidou, Paris (2010).
Raimundas Malasauskas: The Future of Tradition
Dienstag, 17. Mai, 18 Uhr, Portikus
Raimundas Malasauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions "Sculpture of the Space Age", David Roberts Art Foundation, London (2009); "Into the Belly of a Dove", Museo Rufino Tamayo, Mexico City (2010), and "Repetition Island", Centre Georges Pompidou, Paris (2010).
Raqs Media Collective
Vortrag
Raqs Media Collective: A Few Questions Regarding the Quality of Time
Montag, 16. Mai, 19 Uhr, Portikus
Does one time fit all? Can time be equally sliced? Can we trade time? Can we make ourselves understood when we talk to each other in different dialects of time? Do we all have covert and secret clocks that have their alarms go off at odd moments? Does the value of time stay the same when looked at in the light of life and the shadow of death? These questions, some straightforward, some less than obvious, some whimsical, some fantastical - acquire a sharpness and tang in today's world, where, in the aftermath of economic catastrophes, we are all groping for other ways of measuring the worth of the world and our time in it. In their contribution to Time/Bank Raqs provide no easy answers, but lay out the questions we must encounter in the course of any attempt to open an account in the bank of time.
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory - often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai-CSDS, an initiative they co-founded in 2000. They have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.
Raqs Media Collective: A Few Questions Regarding the Quality of Time
Montag, 16. Mai, 19 Uhr, Portikus
Does one time fit all? Can time be equally sliced? Can we trade time? Can we make ourselves understood when we talk to each other in different dialects of time? Do we all have covert and secret clocks that have their alarms go off at odd moments? Does the value of time stay the same when looked at in the light of life and the shadow of death? These questions, some straightforward, some less than obvious, some whimsical, some fantastical - acquire a sharpness and tang in today's world, where, in the aftermath of economic catastrophes, we are all groping for other ways of measuring the worth of the world and our time in it. In their contribution to Time/Bank Raqs provide no easy answers, but lay out the questions we must encounter in the course of any attempt to open an account in the bank of time.
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta) has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces and events, locates them squarely along the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory - often taking the form of installations, online and offline media objects, performances and encounters. They live and work in Delhi, based at Sarai-CSDS, an initiative they co-founded in 2000. They have curated "The Rest of Now" and co-curated "Scenarios" for Manifesta 7.
Sonntag, 8. Mai 2011
THEMROC
Filmvorführung
Themroc: Screening presented by Time/Bank
Donnerstag, 12. Mai, 19Uhr, Portikus
Time/Bank is pleased to be screening the 1973 cult classic Themroc by director Claude Faraldo. Made on a low budget with no intelligible dialog, Themroc tells the story of a French blue collar worker who rebels against modern society, reverting into an urban caveman.
Themroc (Michel Piccoli) goes to work one morning, the same as every morning, but there's a difference this time - as the day draws on, Themroc realises he's had enough of the same old routine. While up a ladder to paint the outside of an office block, he ogles the secretary being dictated to by his boss, then his boss catches him and calls him into his office. This causes Themroc to snap, and he walks out with plans to send himself back to the stone age. When he gets home, he sets about sealing himself into his bedroom and smashing down the outside wall to create a cave. His anarchy is catching - soon his neighbours from across the street are doing the same and it's not long before the media and the police are taking an interest. Because he is breaking the rules of society, the authorities must find a way of containing Themroc before he starts a trend - his antisocial behaviour is surprisingly attractive to the ordinary people around the city.
Themroc: Screening presented by Time/Bank
Donnerstag, 12. Mai, 19Uhr, Portikus
Time/Bank is pleased to be screening the 1973 cult classic Themroc by director Claude Faraldo. Made on a low budget with no intelligible dialog, Themroc tells the story of a French blue collar worker who rebels against modern society, reverting into an urban caveman.
Themroc (Michel Piccoli) goes to work one morning, the same as every morning, but there's a difference this time - as the day draws on, Themroc realises he's had enough of the same old routine. While up a ladder to paint the outside of an office block, he ogles the secretary being dictated to by his boss, then his boss catches him and calls him into his office. This causes Themroc to snap, and he walks out with plans to send himself back to the stone age. When he gets home, he sets about sealing himself into his bedroom and smashing down the outside wall to create a cave. His anarchy is catching - soon his neighbours from across the street are doing the same and it's not long before the media and the police are taking an interest. Because he is breaking the rules of society, the authorities must find a way of containing Themroc before he starts a trend - his antisocial behaviour is surprisingly attractive to the ordinary people around the city.
RAIMUNDAS MALASAUSKAS
Vortrag
Raimundas Malasauskas: The Future of Tradition, Guided Tour
Donnerstag, 12. Mai, 18Uhr, Portikus
Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions “Sculpture of the Space Age,” David Roberts Art Foundation, London (2009); “Into the Belly of a Dove,” Museo Rufino Tamayo, Mexico City (2010), and “Repetition Island,” Centre Georges Pompidou, Paris (2010).
Raimundas Malasauskas: The Future of Tradition, Guided Tour
Donnerstag, 12. Mai, 18Uhr, Portikus
Raimundas Malašauskas, born in Vilnius, is a curator and writer. From 1995 to 2006, he worked at the Contemporary Art Centre in Vilnius, where he produced the first two seasons of the weekly television show CAC TV, an experimental merger of commercial television and contemporary art that ran under the slogan “Every program is a pilot, every program is the final episode.” He curated “Black Market Worlds,” the IX Baltic Triennial, at CAC Vilnius in 2005.
From 2007 to 2008, he was a visiting curator at California College of the Arts, San Francisco, and, until recently, a curator-at-large of Artists Space, New York. In 2007, he co-wrote the libretto of Cellar Door, an opera by Loris Gréaud produced in Paris. Malašauskas curated the exhibitions “Sculpture of the Space Age,” David Roberts Art Foundation, London (2009); “Into the Belly of a Dove,” Museo Rufino Tamayo, Mexico City (2010), and “Repetition Island,” Centre Georges Pompidou, Paris (2010).
JULIANE REBENTISCH
Vortrag
Juliane Rebentisch: Participation in Art: 10 Theses
Mittwoch, 11. Mai 2011, 19Uhr, Aula
Participation has become one of the key terms in contemporary art discourse. But what does it mean to participate in art? How does it relate to the political problem of social participation? Can it be equated with the staged interactivity we encounter in much contemporary art practice? And what about the history of aesthetic participation? How do contemporary models of thinking participation relate to the modernist idea that participating in art means partaking in something that posseses universal validity? What became of the modernist assumption that there is an ethical dimension at work in our relation to art works? The lecture will pursue these questions and offer theses to be discussed.
Juliane Rebentisch teaches philosophy at the Johann Wolfgang Goethe-University in Frankfurt/Main. She is a member of the cluster of excellence „Formation of Normative Orders“. Her main research areas are aesthetics, ethics, and political philosophy. Publications include: Ästhetik der Installation (Suhrkamp 2003); Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus (co-ed. with Ch. Menke, Kadmos 2010); in preparation: Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz (Suhrkamp, Jan. 2012).
Juliane Rebentisch: Participation in Art: 10 Theses
Mittwoch, 11. Mai 2011, 19Uhr, Aula
Participation has become one of the key terms in contemporary art discourse. But what does it mean to participate in art? How does it relate to the political problem of social participation? Can it be equated with the staged interactivity we encounter in much contemporary art practice? And what about the history of aesthetic participation? How do contemporary models of thinking participation relate to the modernist idea that participating in art means partaking in something that posseses universal validity? What became of the modernist assumption that there is an ethical dimension at work in our relation to art works? The lecture will pursue these questions and offer theses to be discussed.
Juliane Rebentisch teaches philosophy at the Johann Wolfgang Goethe-University in Frankfurt/Main. She is a member of the cluster of excellence „Formation of Normative Orders“. Her main research areas are aesthetics, ethics, and political philosophy. Publications include: Ästhetik der Installation (Suhrkamp 2003); Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus (co-ed. with Ch. Menke, Kadmos 2010); in preparation: Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz (Suhrkamp, Jan. 2012).
FRANCO BERARDI
Vortrag
Franco Berardi (Bifo)
Dienstag, 10. Mai 2011, 19Uhr, Portikus
The main cultural transformation of modern capitalism has been the creation of refrains of temporal perception that pervade and discipline society: the refrain of factory work, the refrain of the salary, the refrain of production line. The digital transition has brought along with it new refrains: electronic fragmentation, information overload, acceleration of the semiotic exchange. Fractalization of time, competition. The essential feature of refrain is the rhythm. Rhythm is the relation of a subjective flow of signs (musical, poetic, gestual signs) with the environment: cosmic environment, earthly environment, social environment. Rhythm is singular and collective. It is singularizing the sound of the world in a special modeling of the environmental sound. But it is able to trigger a process of agglutination, of sensitive and sensible communality. Sometime people start to sing the same song, and to dance the same dance. It can be dangerous, and on this kind of homogeneous subjectivation is based fascism, and modern totalitarianism in general. But it can happen in ironic and nomadic ways. People start to create a new song, and they do it together. That’s a movement.
Franco Berardi, aka “Bifo,” founder of the famous “Radio Alice” in Bologna and an important figure of the Italian Autonomia Movement, is a writer, media theorist, and media activist. He currently teaches Social History of the Media at the Accademia di Brera, Milan.
Franco Berardi (Bifo)
Dienstag, 10. Mai 2011, 19Uhr, Portikus
The main cultural transformation of modern capitalism has been the creation of refrains of temporal perception that pervade and discipline society: the refrain of factory work, the refrain of the salary, the refrain of production line. The digital transition has brought along with it new refrains: electronic fragmentation, information overload, acceleration of the semiotic exchange. Fractalization of time, competition. The essential feature of refrain is the rhythm. Rhythm is the relation of a subjective flow of signs (musical, poetic, gestual signs) with the environment: cosmic environment, earthly environment, social environment. Rhythm is singular and collective. It is singularizing the sound of the world in a special modeling of the environmental sound. But it is able to trigger a process of agglutination, of sensitive and sensible communality. Sometime people start to sing the same song, and to dance the same dance. It can be dangerous, and on this kind of homogeneous subjectivation is based fascism, and modern totalitarianism in general. But it can happen in ironic and nomadic ways. People start to create a new song, and they do it together. That’s a movement.
Franco Berardi, aka “Bifo,” founder of the famous “Radio Alice” in Bologna and an important figure of the Italian Autonomia Movement, is a writer, media theorist, and media activist. He currently teaches Social History of the Media at the Accademia di Brera, Milan.
TACITA DEAN
Vortrag
Tacita Dean: The Line of Fate
Montag, 9. Mai 2011, 19Uhr, Aula
Berlin-based artist Tacita Dean is trained as a painter and now works in a variety of media, including drawing, photography and sound but is best known for her compelling 16mm films, of which she has made fifteen to date. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. She has also made works about the mechanics of production, which reveal the artifice of cinema.
Her work includes films such as “Fernsehturm” (2001), “Kodak” (2006), “Craneway Event” (2009), “Still Life” (2009) and “Day for Night” (2009). Her solo exhibitions were presented at Guggenheim Museum, New York (2007), Dia Beacon, New York (2007), ACCA, Melbourne (2011) and the Tate Modern in London (2011). Tacita Dean´s forthcoming exhibition is “Line of Fate” at MUMOK in Vienna. She was awarded the Hugo Boss Prize 2007 and the Kurt Schwitters-Preis Award 2009.
Tacita Dean: The Line of Fate
Montag, 9. Mai 2011, 19Uhr, Aula
Berlin-based artist Tacita Dean is trained as a painter and now works in a variety of media, including drawing, photography and sound but is best known for her compelling 16mm films, of which she has made fifteen to date. Static camera positions and long takes are characteristic of her films, creating a sense of stillness in their moving images. She has also made works about the mechanics of production, which reveal the artifice of cinema.
Her work includes films such as “Fernsehturm” (2001), “Kodak” (2006), “Craneway Event” (2009), “Still Life” (2009) and “Day for Night” (2009). Her solo exhibitions were presented at Guggenheim Museum, New York (2007), Dia Beacon, New York (2007), ACCA, Melbourne (2011) and the Tate Modern in London (2011). Tacita Dean´s forthcoming exhibition is “Line of Fate” at MUMOK in Vienna. She was awarded the Hugo Boss Prize 2007 and the Kurt Schwitters-Preis Award 2009.
Mittwoch, 27. April 2011
Rundgang 2011 – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
29. APRIL - 1. MAI 2011
Programm download
Eröffnung mit Preisverleihung: Freitag, 29. April, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2010 nahmen mehr als 15.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2011 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.
Highlights:
Freitag, 29. April
19 Uhr Eröffnung und Preisverleihung
Moderation: Graziano Capitta, Mensa
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis
Jury: Clémentine Deliss und Douglas Gordon
22 Uhr Rundgang Party, Daimlerstraße 32
mit Philip Berg, Sergio Casariva, Ata Macias und Michael Satter
Eintritt: 6 €
Samstag, 30. April
14 Uhr Douglas Gordon und Nikolaus Hirsch im Gespräch, Aula
16 Uhr Vortrag: Jan Verwoert "Corruption. Care. Magic." Aula
Beyond the structures of social institutions and the theatre of political representation what other, less visible, or invisible conditions for the production of society can be found in corruption, care and magic? and how could art tap into them?
Jan Verwoert is a writer, based in Berlin, he is a contributing editor of frieze magazine and teaches at the Piet Zwart Institute Rotterdam, the Hamidrasha School of Art, Tel Aviv and the DeAppel Curatorial Programme, Amsterdam. A volume of his collected writings Tell Me What You Want What You Really Really Want has recently been published by Sternberg Press/Piet Zwart Institute.
(Die Veranstaltung findet in englischer Sprache statt)
17 Uhr "Hair of the Dog" Bloody Mary - Piano Bar, Küche Filmklasse
Sonntag, 1. Mai
12 Uhr "Daimler Matinée" Daimlerstraße 32
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der "Rundgang 2011" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Programm download
Eröffnung mit Preisverleihung: Freitag, 29. April, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, einer der weltweit führenden Kunsthochschulen, ihre Türen der Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2010 nahmen mehr als 15.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr 2011 werden rund 190 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich renovierten Städelschule ausstellen.
Highlights:
Freitag, 29. April
19 Uhr Eröffnung und Preisverleihung
Moderation: Graziano Capitta, Mensa
Bernbeck-Stiftung Förderpreis / Jürgen H. Conzelmann Preis / PRE Real Estate Deutschland Preis / Rentenbank Preis / Stylepark Preis / Linklaters Preis / Ernst & Young Preis
Jury: Clémentine Deliss und Douglas Gordon
22 Uhr Rundgang Party, Daimlerstraße 32
mit Philip Berg, Sergio Casariva, Ata Macias und Michael Satter
Eintritt: 6 €
Samstag, 30. April
14 Uhr Douglas Gordon und Nikolaus Hirsch im Gespräch, Aula
16 Uhr Vortrag: Jan Verwoert "Corruption. Care. Magic." Aula
Beyond the structures of social institutions and the theatre of political representation what other, less visible, or invisible conditions for the production of society can be found in corruption, care and magic? and how could art tap into them?
Jan Verwoert is a writer, based in Berlin, he is a contributing editor of frieze magazine and teaches at the Piet Zwart Institute Rotterdam, the Hamidrasha School of Art, Tel Aviv and the DeAppel Curatorial Programme, Amsterdam. A volume of his collected writings Tell Me What You Want What You Really Really Want has recently been published by Sternberg Press/Piet Zwart Institute.
(Die Veranstaltung findet in englischer Sprache statt)
17 Uhr "Hair of the Dog" Bloody Mary - Piano Bar, Küche Filmklasse
Sonntag, 1. Mai
12 Uhr "Daimler Matinée" Daimlerstraße 32
Weitere Informationen zum Filmprogramm und Performances entnehmen Sie bitte dem ausliegenden Programm.
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich, sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und Dürerstrasse.
Wir freuen uns auf Ihr Kommen!
Der "Rundgang 2011" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Montag, 18. April 2011
Josef Strau
Vortrag
Josef Strau
Dienstag, 19. April 2011, 19 Uhr, Aula
Josef Strau, geboren 1957, ist Künstler und Schriftsteller in Berlin.
Er ist Gründer und Organisator der Galerie Meerrettich im Pavillon am Rosa-Luxemburg-Platz in Berlin. 1990 -93 initiierte er zusammen mit Stefan Dillemuth "Friesenwall 120" in Köln. 2010 zeigte er die Ausstellung "The Why Does This All Happen To Me Experience" im House of Gaga, Mexico City und "Vienna and Jerusalem" (mit Martin Guttman), Pro Choice, Wien.
Während der vergangenen Jahre hat Josef Strau an Formen einer unmittelbaren Verbindung von seinen Texten und einigen seiner Ausstellungsobjekte gearbeitet: Für verschiedene Gruppenausstellungen sind so genannte „Leselampen“ entstanden, die auch als eine Art Werbe-Objekt für seine Texte fungieren. Als erste Lampe wurde 2004 die „Das Jahr im Rückblick“-Lampe im Pavillon der Galerie Meerrettich gezeigt. Die „Lampe für einen Baudelaire-Tag in Berlin“ stand 2004 in einer Ausstellung bei Daniel Buchholz in Köln. Auf der Sonderausstellung „Open Space“ der Art Cologne (2005) zeigte Josef Strau in der Präsentation der Galerie Meerrettich die Lampe „Dear Little Tiger“. „Die weiße Leselampe“ wurde schließlich in die von Tobias Buche kuratierte Gruppenausstellung „The Gone Wait“ in der Gagosian Gallery Berlin (2005) integriert.
Josef Strau über Koinzidenz:
“… It is somewhere, and it often becomes coincidences, which decide this starting point - these are also the best texts. The more I work intentionally, the worse the texts become. The more the texts were written on coincidences, the more the texts kept developing. So the coincidence is like the mysterious starting point. (…) I try to avoid the classic authorship (…) it doesn’t mean, that it cannot be autobiographical, but I want somehow the reality which my works refer to, doesn’t not come from me, but from the outside by coincidence…
For some years I didn’t really work as an artist, almost giving up, but then I did Galerie Meerrettich, and then, for many reasons I suddenly became interested in making and producing again, more than I was ever before. There was this writing phenomenon that I really wanted to focus on. (It) was a coincidence as well, (…) I thought, maybe I should try… and then it created this thing, - I’m afraid in a kind of slightly humorous way – about art and economy, dealing with the realities like, that art has a very different economy than writing – you cannot sell text objects as you can sell an art object immediately. I suddenly realized, that I had to look more into this business side of the whole thing as well…”
Die Veranstaltung findet in englischer Sprache statt.
Josef Strau
Dienstag, 19. April 2011, 19 Uhr, Aula
Josef Strau, geboren 1957, ist Künstler und Schriftsteller in Berlin.
Er ist Gründer und Organisator der Galerie Meerrettich im Pavillon am Rosa-Luxemburg-Platz in Berlin. 1990 -93 initiierte er zusammen mit Stefan Dillemuth "Friesenwall 120" in Köln. 2010 zeigte er die Ausstellung "The Why Does This All Happen To Me Experience" im House of Gaga, Mexico City und "Vienna and Jerusalem" (mit Martin Guttman), Pro Choice, Wien.
Während der vergangenen Jahre hat Josef Strau an Formen einer unmittelbaren Verbindung von seinen Texten und einigen seiner Ausstellungsobjekte gearbeitet: Für verschiedene Gruppenausstellungen sind so genannte „Leselampen“ entstanden, die auch als eine Art Werbe-Objekt für seine Texte fungieren. Als erste Lampe wurde 2004 die „Das Jahr im Rückblick“-Lampe im Pavillon der Galerie Meerrettich gezeigt. Die „Lampe für einen Baudelaire-Tag in Berlin“ stand 2004 in einer Ausstellung bei Daniel Buchholz in Köln. Auf der Sonderausstellung „Open Space“ der Art Cologne (2005) zeigte Josef Strau in der Präsentation der Galerie Meerrettich die Lampe „Dear Little Tiger“. „Die weiße Leselampe“ wurde schließlich in die von Tobias Buche kuratierte Gruppenausstellung „The Gone Wait“ in der Gagosian Gallery Berlin (2005) integriert.
Josef Strau über Koinzidenz:
“… It is somewhere, and it often becomes coincidences, which decide this starting point - these are also the best texts. The more I work intentionally, the worse the texts become. The more the texts were written on coincidences, the more the texts kept developing. So the coincidence is like the mysterious starting point. (…) I try to avoid the classic authorship (…) it doesn’t mean, that it cannot be autobiographical, but I want somehow the reality which my works refer to, doesn’t not come from me, but from the outside by coincidence…
For some years I didn’t really work as an artist, almost giving up, but then I did Galerie Meerrettich, and then, for many reasons I suddenly became interested in making and producing again, more than I was ever before. There was this writing phenomenon that I really wanted to focus on. (It) was a coincidence as well, (…) I thought, maybe I should try… and then it created this thing, - I’m afraid in a kind of slightly humorous way – about art and economy, dealing with the realities like, that art has a very different economy than writing – you cannot sell text objects as you can sell an art object immediately. I suddenly realized, that I had to look more into this business side of the whole thing as well…”
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 15. März 2011
Globe: Rabih Mroué
Three evenings with Rabih Mroué and friends
Diana Allan (Beirut) Tony Chakar (Beirut) Simon Haber (Beirut) Joana Hadjithomas (Paris) Khalil Joreige (Paris) Lamia Joreige (Beirut) Ziad Nawfal (Beirut)
Maher Abi Samra (Beirut) Scrambled Eggs (Beirut)
Mittwoch, 13. April - Freitag, 15. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance / Eine Initiative der Deutschen Bank in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 13. April
17:00 – 19:00 Ziad Nawfal, 96.2 FM Radio Lebanon / live Radio
19:00 – 20:30 Tony Chakar The Eighth Day / Talk
21:30 – 22:30 Rabih Mroué, Make me stop smoking / Lecture performance
Donnerstag 14. April
17:00 – 18:30 Ziad Nawfal, Beirut‘s alternative music scene / Lecture performance
19:00 – 21:00 Simon Haber, The One Man Village / Film
21:30 – 22:30 Rabih Mroué, The inhabitants of images / Lecture performance
Freitag 15. April
18:00 – 19:00 Maher Abi Samra, Lamia Joreige, Diana Allan, Merely Smell, Journey, Still Life / Film
19:30 – 21:00 Joana Hadjithomas & Khalil Joreige, Aida sauve-moi / Lecture performance
21:30 – 22:30 Scrambled Eggs, Jackpot Blues part I + II / Music
Rabih Mroué (born 1967) is an actor, director, playwright, visual artist, and a contributing editor of The Drama Review (TDR) as well as a co-founder and board member of the Beirut Art Center (BAC), Beirut. Recent exhibitions include "I the Undersigned" at BAK (Utrecht, 2010), Performa 09 (New York, 2009), 11th International Istanbul Biennial (2009), "Tarjama/Translation" at Queens Museum of Art (New York, 2009), Sjarjah Biennial (2009), "Soft Manipulation – Who is afraid of the new now?" at Casino Luxembourg (2008) and "Medium Religion" at ZKM (Karlsruhe, 2008). Mroué lives and works in Beirut.
Rabih Mroué engages with cultural and political processes.
His meticulously staged theatrical performances
and videos explore relationships between different artistic
languages and the interaction between performer and
audience. For “Globe” Mroué invited his friends from Beirut.
Alternative Sounds characterize Ziad Nawfal’s live
broadcast for Radio Lebanon and a concert by Scrambled
Eggs, one of the most distinguished young Beirut rock
bands. Films by Simon Haber, Maher Abi Samra, Lamia
Joreige, and Diana Allan will be shown, and a performance
by the filmmakers Joana Hadjithomas and Khalil Joreige
will be staged. The program moreover includes lectures
by Rabih Mroué and a talk by the artist, architect, and
essayist Tony Chakar.
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank Towers. Each week will be shaped by a different international artist and his or her guests.
Die Veranstaltungen finden in englischer Sprache statt.
Weitere Informationen unter
www.db.com/globe
und
www.db-artmag.de/en/64/feature/globe-for-frankfurt-and-the-world-the-art-and-performance-progr/
Diana Allan (Beirut) Tony Chakar (Beirut) Simon Haber (Beirut) Joana Hadjithomas (Paris) Khalil Joreige (Paris) Lamia Joreige (Beirut) Ziad Nawfal (Beirut)
Maher Abi Samra (Beirut) Scrambled Eggs (Beirut)
Mittwoch, 13. April - Freitag, 15. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance / Eine Initiative der Deutschen Bank in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 13. April
17:00 – 19:00 Ziad Nawfal, 96.2 FM Radio Lebanon / live Radio
19:00 – 20:30 Tony Chakar The Eighth Day / Talk
21:30 – 22:30 Rabih Mroué, Make me stop smoking / Lecture performance
Donnerstag 14. April
17:00 – 18:30 Ziad Nawfal, Beirut‘s alternative music scene / Lecture performance
19:00 – 21:00 Simon Haber, The One Man Village / Film
21:30 – 22:30 Rabih Mroué, The inhabitants of images / Lecture performance
Freitag 15. April
18:00 – 19:00 Maher Abi Samra, Lamia Joreige, Diana Allan, Merely Smell, Journey, Still Life / Film
19:30 – 21:00 Joana Hadjithomas & Khalil Joreige, Aida sauve-moi / Lecture performance
21:30 – 22:30 Scrambled Eggs, Jackpot Blues part I + II / Music
Rabih Mroué (born 1967) is an actor, director, playwright, visual artist, and a contributing editor of The Drama Review (TDR) as well as a co-founder and board member of the Beirut Art Center (BAC), Beirut. Recent exhibitions include "I the Undersigned" at BAK (Utrecht, 2010), Performa 09 (New York, 2009), 11th International Istanbul Biennial (2009), "Tarjama/Translation" at Queens Museum of Art (New York, 2009), Sjarjah Biennial (2009), "Soft Manipulation – Who is afraid of the new now?" at Casino Luxembourg (2008) and "Medium Religion" at ZKM (Karlsruhe, 2008). Mroué lives and works in Beirut.
Rabih Mroué engages with cultural and political processes.
His meticulously staged theatrical performances
and videos explore relationships between different artistic
languages and the interaction between performer and
audience. For “Globe” Mroué invited his friends from Beirut.
Alternative Sounds characterize Ziad Nawfal’s live
broadcast for Radio Lebanon and a concert by Scrambled
Eggs, one of the most distinguished young Beirut rock
bands. Films by Simon Haber, Maher Abi Samra, Lamia
Joreige, and Diana Allan will be shown, and a performance
by the filmmakers Joana Hadjithomas and Khalil Joreige
will be staged. The program moreover includes lectures
by Rabih Mroué and a talk by the artist, architect, and
essayist Tony Chakar.
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank Towers. Each week will be shaped by a different international artist and his or her guests.
Die Veranstaltungen finden in englischer Sprache statt.
Weitere Informationen unter
www.db.com/globe
und
www.db-artmag.de/en/64/feature/globe-for-frankfurt-and-the-world-the-art-and-performance-progr/
Globe: Ei Arakawa
Reorienting Orientationalism, New Directions (Haircolour) International Class 2011
Mit Henning Bohl (Berlin) Yuki Kimura (Kyoto) Q Takeki Maeda (Berlin/Kyoto) Mélanie Mermod (Paris) Ken Okiishi (New York City) Carissa Rodriguez (New York City) Sergei Tcherepnin (New York City)
Mittwoch, 06. April - Freitag, 08. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 06. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 January 2011 Tokyo / Film
20:00 – 20:30 Ei Arakawa, Carissa Rodriguez, The One Inside (Spring Version) / Performance & Installation
20:30 – 00:00 Ken Okiishi, Ei Arakawa, Henning Bohl, Carissa Rodriguez, Sergei Tcherepnin,Yuki Kimura, Q Takeki Maeda, Mélanie Mermod / Performance
Donnerstag 07. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition Carissa Rodriguez, Left Over | Exhibition
19:00 – 20:00 February 2011 Mito / Film
20:00 – 20:45 Ei Arakawa, Henning Bohl, Sergei Tcherepnin, Reorienting Orientationalism, New Directions (haircolour), International Class 2011 / Performance & Music
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Freitag 08. April
17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei Tcherepnin, Left Over / Exhibition Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 March 2011 Osaka / Film
20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, True Urgent Talk / Performance & Installation
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Ei Arakawa‘s performances move between action and
ceremony. With different materials such as video films,
banners, and posters, which “illustrate” choreographies,
he creates situations in which the boundaries between
actor and audience disappear. In Frankfurt, he and his
friends will articulate the cultural and aesthetic transfer
between Japan and the Western art scene. All guests
recently visited Japan in order to develop this project.
The program consists of performances, talks, concerts,
and films by the artists Henning Bohl, Carissa Rodriguez,
Q Takeki Maeda, Yuki Kimura, Mélanie Mermod, Ken
Okiishi, and the New York composer Sergei Tcherepnin.
It will be supplemented by daily changing exhibitions and
a project on the legendary Japanese artists’ group Jikken
Kobo from the early 1950s.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Henning Bohl (Berlin) Yuki Kimura (Kyoto) Q Takeki Maeda (Berlin/Kyoto) Mélanie Mermod (Paris) Ken Okiishi (New York City) Carissa Rodriguez (New York City) Sergei Tcherepnin (New York City)
Mittwoch, 06. April - Freitag, 08. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 06. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 January 2011 Tokyo / Film
20:00 – 20:30 Ei Arakawa, Carissa Rodriguez, The One Inside (Spring Version) / Performance & Installation
20:30 – 00:00 Ken Okiishi, Ei Arakawa, Henning Bohl, Carissa Rodriguez, Sergei Tcherepnin,Yuki Kimura, Q Takeki Maeda, Mélanie Mermod / Performance
Donnerstag 07. März
17:00 – 00:00 Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition Carissa Rodriguez, Left Over | Exhibition
19:00 – 20:00 February 2011 Mito / Film
20:00 – 20:45 Ei Arakawa, Henning Bohl, Sergei Tcherepnin, Reorienting Orientationalism, New Directions (haircolour), International Class 2011 / Performance & Music
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Freitag 08. April
17:00 – 00:00 Carissa Rodriguez, Henning Bohl, Sergei Tcherepnin, Left Over / Exhibition Mélanie Mermod, Ei Arakawa, Jikken Kobo: Experimental Workshop / Exhibition
19:00 – 20:00 March 2011 Osaka / Film
20:00 – 20:45 Ei Arakawa, Yuki Kimura, Q Takeki Maeda, True Urgent Talk / Performance & Installation
20:45 – 00:00 Programm vom 06.04, For the program on April 6
Ei Arakawa‘s performances move between action and
ceremony. With different materials such as video films,
banners, and posters, which “illustrate” choreographies,
he creates situations in which the boundaries between
actor and audience disappear. In Frankfurt, he and his
friends will articulate the cultural and aesthetic transfer
between Japan and the Western art scene. All guests
recently visited Japan in order to develop this project.
The program consists of performances, talks, concerts,
and films by the artists Henning Bohl, Carissa Rodriguez,
Q Takeki Maeda, Yuki Kimura, Mélanie Mermod, Ken
Okiishi, and the New York composer Sergei Tcherepnin.
It will be supplemented by daily changing exhibitions and
a project on the legendary Japanese artists’ group Jikken
Kobo from the early 1950s.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: Cao Fei
A Three Days Treatment
Mit Daniel Birnbaum (Stockholm)
Cao Chong’en (Guangzhou/Vancouver)
He Yufan (Beijing)
Nikolaus Hirsch (Frankfurt am Main)
Huang He (Guangzhou)
Huang Shan (Guangzhou)
Jiang Jun (Beijing)
Jiang Zhi (Beijing/Shenzhen)
Zafka Zhang (Beijing)
Zhang Wei (Beijing/Guangzhou)
Mittwoch, 30. März - Freitag, 01. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 30. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf
19:30 – 21:30 Cao Chong‘en, Clay & Belief / Live Sculpturing
22:00 – 23:30 Cao Fei, Father / Film
Donnerstag 31. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, Coffee Yoga - Class Two: Double Espresso
20:00 – 21:15 Nikolaus Hirsch, Daniel Birnbaum, Cao Fei, Zhang Wei, Jiang Zhi, The Pavilion / Talk
21:45 – 22:30 Jiang Zhi, Moment / Film
Freitag 01. April
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 Coffee Yoga – Class Three: Black Coffee
20:00 – 21:00 Huang Shan, Huang He / Fengshui Performance
21:30 – 22:30 Cao Fei, i Mirror, Live in RMB City / Film
23:00 – 00:00 Zafka Zhang | Music
In her installations, Cao Fei combines influences of global
pop culture with elements from the Peking Opera and
dance. She works with film and animation, as well as on the
internet. She realized her project RMB City on “Second Life”,
as a utopian city where avatar China Tracy acts. For “Globe”
Cao Fei will introduce a completely new artistic practice:
visitors can practice coffee yoga with China Tracy and experience
what the Frankfurt School and Zen have in common.
In addition to the performance Two as One by He Yufan
and Jiang Jun the program includes a live sculpturing by
Cao Chong'en, music by Zafka Zhang, a Fengshui-performance
by Huang Shan and Huang He as well as the discussion
The Pavilion. Cao Fei talks with Daniel Birnbaum,
director of the Moderna Museet, Nikolaus Hirsch, rector
of the Städelschule, Beijing artist Jian Zhi and Zhang Wei,
director of Vitamin Creative Space, Guangzhou.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Daniel Birnbaum (Stockholm)
Cao Chong’en (Guangzhou/Vancouver)
He Yufan (Beijing)
Nikolaus Hirsch (Frankfurt am Main)
Huang He (Guangzhou)
Huang Shan (Guangzhou)
Jiang Jun (Beijing)
Jiang Zhi (Beijing/Shenzhen)
Zafka Zhang (Beijing)
Zhang Wei (Beijing/Guangzhou)
Mittwoch, 30. März - Freitag, 01. April 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 30. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 China Tracy, Coffee Yoga - Class One: Decaf
19:30 – 21:30 Cao Chong‘en, Clay & Belief / Live Sculpturing
22:00 – 23:30 Cao Fei, Father / Film
Donnerstag 31. März
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 He Yufan, Jiang Jun, Zafka Zhang, Coffee Yoga - Class Two: Double Espresso
20:00 – 21:15 Nikolaus Hirsch, Daniel Birnbaum, Cao Fei, Zhang Wei, Jiang Zhi, The Pavilion / Talk
21:45 – 22:30 Jiang Zhi, Moment / Film
Freitag 01. April
17:00 – 00:00 Cao Fei / Film
19:00 – 20:00 Coffee Yoga – Class Three: Black Coffee
20:00 – 21:00 Huang Shan, Huang He / Fengshui Performance
21:30 – 22:30 Cao Fei, i Mirror, Live in RMB City / Film
23:00 – 00:00 Zafka Zhang | Music
In her installations, Cao Fei combines influences of global
pop culture with elements from the Peking Opera and
dance. She works with film and animation, as well as on the
internet. She realized her project RMB City on “Second Life”,
as a utopian city where avatar China Tracy acts. For “Globe”
Cao Fei will introduce a completely new artistic practice:
visitors can practice coffee yoga with China Tracy and experience
what the Frankfurt School and Zen have in common.
In addition to the performance Two as One by He Yufan
and Jiang Jun the program includes a live sculpturing by
Cao Chong'en, music by Zafka Zhang, a Fengshui-performance
by Huang Shan and Huang He as well as the discussion
The Pavilion. Cao Fei talks with Daniel Birnbaum,
director of the Moderna Museet, Nikolaus Hirsch, rector
of the Städelschule, Beijing artist Jian Zhi and Zhang Wei,
director of Vitamin Creative Space, Guangzhou.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: Keren Cytter
Fear, Fun and Fire
Mit Charles Arsène-Henry (London) Diedrich Diederichsen (Berlin/Wien) Andrew Kerton (Berlin) Philipp Kleinmichel (Berlin) Dafna Maimon (Berlin) Maria and the Mirrors (London) John Maus (Minneapolis) Susie Meyer (Berlin) Fabian Stumm (Berlin)
Mittwoch, 23. März - Freitag, 25. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 23. März
19:00 – 19:45 Charles Arsène-Henry / Lecture performance
20:30 – 22:00 Keren Cytter, Don‘t touch me psychopath / Film (Premiere)
Donnerstag 24. März
19:00 – 19:45 Diedrich Diederichsen / Talk
20:15 – 20:45 Andrew Kerton & Dafna Maimon / Performance (Premiere)
21:30 – 22:30 Maria and the Mirrors / Music
Freitag 25. März
19:00 – 19:45 Philipp Kleinmichel / Talk
20:15 – 20:45 Keren Cytter, Showreal / Performance (Premiere)
21:30 – 22.30 John Maus / Music
The Israeli artist Keren Cytter shoots videos, choreographs dance performances, writes novellas, and has even penned an opera libretto. Her film works deal with human relationships and plumb the depths of the human psyche. They are assemblies of high- and pop-cultural quotations, citing classic movies, experimental films, and YouTube clips in equal measure. Cytter represents a young generation of artists who break all genre boundaries. Her three events are each devoted to one state or element under the motto "Fear, Fun and Fire." The author Charles Arsène-Henry and the premiere of Cytter's horror movie Don't Touch Me Psychopath instill fear. Critic and author Diedrich Diederichsen, the London punk band Maria and the Mirrors, and the performers Andrew Kerton and Dafna Maimon provide joy. The performers Susie Meyer and Fabian Stumm, cultural theorist Philipp Kleinmichel, and the music of underground star John Maus ignite.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Charles Arsène-Henry (London) Diedrich Diederichsen (Berlin/Wien) Andrew Kerton (Berlin) Philipp Kleinmichel (Berlin) Dafna Maimon (Berlin) Maria and the Mirrors (London) John Maus (Minneapolis) Susie Meyer (Berlin) Fabian Stumm (Berlin)
Mittwoch, 23. März - Freitag, 25. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch 23. März
19:00 – 19:45 Charles Arsène-Henry / Lecture performance
20:30 – 22:00 Keren Cytter, Don‘t touch me psychopath / Film (Premiere)
Donnerstag 24. März
19:00 – 19:45 Diedrich Diederichsen / Talk
20:15 – 20:45 Andrew Kerton & Dafna Maimon / Performance (Premiere)
21:30 – 22:30 Maria and the Mirrors / Music
Freitag 25. März
19:00 – 19:45 Philipp Kleinmichel / Talk
20:15 – 20:45 Keren Cytter, Showreal / Performance (Premiere)
21:30 – 22.30 John Maus / Music
The Israeli artist Keren Cytter shoots videos, choreographs dance performances, writes novellas, and has even penned an opera libretto. Her film works deal with human relationships and plumb the depths of the human psyche. They are assemblies of high- and pop-cultural quotations, citing classic movies, experimental films, and YouTube clips in equal measure. Cytter represents a young generation of artists who break all genre boundaries. Her three events are each devoted to one state or element under the motto "Fear, Fun and Fire." The author Charles Arsène-Henry and the premiere of Cytter's horror movie Don't Touch Me Psychopath instill fear. Critic and author Diedrich Diederichsen, the London punk band Maria and the Mirrors, and the performers Andrew Kerton and Dafna Maimon provide joy. The performers Susie Meyer and Fabian Stumm, cultural theorist Philipp Kleinmichel, and the music of underground star John Maus ignite.
Die Veranstaltungen finden in englischer Sprache statt.
Globe: The Otolith Group
A Sunken Trembling, Recollected Dimly
Mit Lise Autogena, Rayya Badran, Justin Barton, Dopplereffekt, Mark Fisher, Reza Negarestani, Brian W. Rogers
Mittwoch, 16. März - Freitag, 18. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch, 16. März
18:00 – 18:30 NASDAQ: Vocal Index / Film
18:30 – 19:00 Samuel Stevens: Atlantropa / Film
19:00 – 20:00 Peter Hutton: At Sea / Film
20:00 – 21:00 Lise Autogena & The Otolith Group: Abstraction and System in an Age of Recessional Aesthetics / Talk
Donnerstag, 17. März
18:00 – 18:20 Brian W. Rogers, Nilofar Naraghi, Nazanin Naraghi, Aab va Garmaa / Film
18:30 – 19:00 The Otolith Group: Hydra Decapita / Film
19:00 – 20:00 The Otolith Group & Brian W. Rogers: Geoaesthetics, Terracentricity, Hydropolitics and Petropolitics / Talk
22:00 – 22:45 Werner Herzog: Lessons of Darkness / Film
Freitag, 18. März
18:00 – 18:30 The Otolith Group: The Secret King in the Empire of Thinking / Audio-essay
18:30 – 19:20 Mark Fisher: Radar Traces / Audio-essay
19:30 – 20:00 Mark Fisher & Justin Barton: LondonunderLondon / Audio-essay
19:30 – 20:00 Rayya Badran: (In)action / Audio-essay
21:00 – 22:00 Raya Baddran, Mark Fisher, Justin Barton & The Otolith Group: Radiophonic Terrains / Talk
22:00 – 22:45 Dopplereffekt / Concert
The films, curatorial projects, discussion platforms and publications of The Otolith Group explore the accumulated science fictions of the present in order to reflect upon the powers and capacities of historical futures. Founded in London in 2002, The Otolith Group consists of artist Anjalika Sagar and artist and writer Kodwo Eshun who teaches at Goldsmiths College in London and is the author of "More Brilliant than the Sun: Adventures in Sonic Fiction". The artists take their name from the otoliths – the calcium carbonate micro-crystals found within the inner ear that are responsible for balance. Their work was shown in solo exhibitions such as "A Long Time Between the Suns: Part I and Part II" (Gasworks and The Showroom, London, 2009) and "Thoughtform" (Macba Barcelona, 2011). Group exhibitions include Manifesta 8: The European Biennal of Contemporary Art, Murcia, (2010), Universes in Universe: 29th Sao Paolo Biennal (2010), the 7th Shanghai Biennale (2008), 2nd International Biennial of Contemporary Art of Seville (2006) and New British Art: Tate Triennial (2006). In 2010, The Otolith Group was nominated for the Turner Prize.
For "Globe" The Otolith Group has composed a program consisting of films, talks, audio-essays and a concert. Invited artists include Lise Autogena, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran, artist Justin Barton, critic, theorist, blogger and author Mark Fisher, Reza Negarestani, and legendary electronic music group Dopplereffekt.
Die Veranstaltungen finden in englischer Sprache statt.
Mit Lise Autogena, Rayya Badran, Justin Barton, Dopplereffekt, Mark Fisher, Reza Negarestani, Brian W. Rogers
Mittwoch, 16. März - Freitag, 18. März 2011, 18 - 24 Uhr
Globe - Art, Music and Performance in den Deutsche Bank-Türmen, Taunusanlage 12, 60325 Frankfurt
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
Mittwoch, 16. März
18:00 – 18:30 NASDAQ: Vocal Index / Film
18:30 – 19:00 Samuel Stevens: Atlantropa / Film
19:00 – 20:00 Peter Hutton: At Sea / Film
20:00 – 21:00 Lise Autogena & The Otolith Group: Abstraction and System in an Age of Recessional Aesthetics / Talk
Donnerstag, 17. März
18:00 – 18:20 Brian W. Rogers, Nilofar Naraghi, Nazanin Naraghi, Aab va Garmaa / Film
18:30 – 19:00 The Otolith Group: Hydra Decapita / Film
19:00 – 20:00 The Otolith Group & Brian W. Rogers: Geoaesthetics, Terracentricity, Hydropolitics and Petropolitics / Talk
22:00 – 22:45 Werner Herzog: Lessons of Darkness / Film
Freitag, 18. März
18:00 – 18:30 The Otolith Group: The Secret King in the Empire of Thinking / Audio-essay
18:30 – 19:20 Mark Fisher: Radar Traces / Audio-essay
19:30 – 20:00 Mark Fisher & Justin Barton: LondonunderLondon / Audio-essay
19:30 – 20:00 Rayya Badran: (In)action / Audio-essay
21:00 – 22:00 Raya Baddran, Mark Fisher, Justin Barton & The Otolith Group: Radiophonic Terrains / Talk
22:00 – 22:45 Dopplereffekt / Concert
The films, curatorial projects, discussion platforms and publications of The Otolith Group explore the accumulated science fictions of the present in order to reflect upon the powers and capacities of historical futures. Founded in London in 2002, The Otolith Group consists of artist Anjalika Sagar and artist and writer Kodwo Eshun who teaches at Goldsmiths College in London and is the author of "More Brilliant than the Sun: Adventures in Sonic Fiction". The artists take their name from the otoliths – the calcium carbonate micro-crystals found within the inner ear that are responsible for balance. Their work was shown in solo exhibitions such as "A Long Time Between the Suns: Part I and Part II" (Gasworks and The Showroom, London, 2009) and "Thoughtform" (Macba Barcelona, 2011). Group exhibitions include Manifesta 8: The European Biennal of Contemporary Art, Murcia, (2010), Universes in Universe: 29th Sao Paolo Biennal (2010), the 7th Shanghai Biennale (2008), 2nd International Biennial of Contemporary Art of Seville (2006) and New British Art: Tate Triennial (2006). In 2010, The Otolith Group was nominated for the Turner Prize.
For "Globe" The Otolith Group has composed a program consisting of films, talks, audio-essays and a concert. Invited artists include Lise Autogena, theorist and filmmaker Brian W. Rogers, writer and theorist Rayya Badran, artist Justin Barton, critic, theorist, blogger and author Mark Fisher, Reza Negarestani, and legendary electronic music group Dopplereffekt.
Die Veranstaltungen finden in englischer Sprache statt.
Donnerstag, 3. März 2011
GLOBE
Apparatjik, Ei Arakawa, Cao Fei, Keren Cytter, Rabih Mroué, Planningtorock, The Otolith Group
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
2. März - 15. April 2011, Mittwoch - Freitag, 17 - 24 Uhr
im Erdgeschoss der Deutsche Bank Türme, Taunusanlage 12, 60325 Frankfurt
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that will unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank towers. Each week will be shaped by a different international artist and his or her guests.
Apparatjik
Mittwoch, 2. März
17:00 – 18:00 apparat tv
18:00 – 19:00 Louise Lockwood, Parallel Worlds Film
19:00 – 19:30 Blacksmoke, The Danger Global Warming project Film
19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining Creativity. Creating Sustainability Talk
20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark Film (Premiere); On Multiverses, an interview with Max Tegmark Film (Premiere)
22:00 – 23:00 Ipad Disco Combat Performance (Premiere)
Donnerstag, 3. März
17:00 – 19:00 apparat tv
19:00 – 20:00 Laura Anderson Barbata, 21st Century Living in the Amazon: In the Order of Chaos Talk
20:00 – 21:00 Bruce Parry, Amazon, Survival International, Mine – Story of a Sacred Mountain, The Things They Said Film
21:00 – 22:00 Apparatjik, Laura Anderson Barbata & Linda Poppe Talk
22:00 – 23:00 Blacksmoke, The Danger Global Warming project Film
Freitag, 4. März
17:00 – 18:30 Lucy Walker: Waste Land Film
19:00 – 20:30 Holger Hagge, Nikolaus Hirsch, Joseph Grima, Building Cubes Talk
21:00 – 22:00 Talk Apparatjik, Holger Hagge, Nikolaus Hirsch & Joseph Grima
22:00 – 23:00 Apparatjik Ipad Disco Combat Performance
Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental platform and collaborates with media technicians, designers, and scientists. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective as artistic director on special occasions.
Apparatjik's live debut took place in 2010 at the Berlin club WMF in a cube inspired by László Moholy-Nagy's legendary Light-Space-Modulator. Live Guests of Apparatjik are Mexican artist Laura Anderson Barbata; Linda Poppe, Survival International Germany; Holger Hagge, chief architect at Deutsche Bank; Nikolaus Hirsch, rector of Städelschule, Joseph Grima, editor-in-chief Domus magazine; and musician Erik Ljunggren.
Die Veranstaltungen finden in englischer Sprache statt.
Programm download
Robert Johnson Live Safer Bar feat. Tobias Rehberger
Kuratiert von Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf, Willem de Rooij
2. März - 15. April 2011, Mittwoch - Freitag, 17 - 24 Uhr
im Erdgeschoss der Deutsche Bank Türme, Taunusanlage 12, 60325 Frankfurt
Globe is not an exhibition in the traditional sense, but rather a flexible space that allows for a series of scenarios focused on moving images, performative events and talks that will unfold during seven weeks in a temporary space at the ground floor of the Deutsche Bank towers. Each week will be shaped by a different international artist and his or her guests.
Apparatjik
Mittwoch, 2. März
17:00 – 18:00 apparat tv
18:00 – 19:00 Louise Lockwood, Parallel Worlds Film
19:00 – 19:30 Blacksmoke, The Danger Global Warming project Film
19:30 – 20:30 Apparatjik & Ute Meta Bauer, Sustaining Creativity. Creating Sustainability Talk
20:30 – 22:00 Apparatjik, Choral Piece feat. Max Tegmark Film (Premiere); On Multiverses, an interview with Max Tegmark Film (Premiere)
22:00 – 23:00 Ipad Disco Combat Performance (Premiere)
Donnerstag, 3. März
17:00 – 19:00 apparat tv
19:00 – 20:00 Laura Anderson Barbata, 21st Century Living in the Amazon: In the Order of Chaos Talk
20:00 – 21:00 Bruce Parry, Amazon, Survival International, Mine – Story of a Sacred Mountain, The Things They Said Film
21:00 – 22:00 Apparatjik, Laura Anderson Barbata & Linda Poppe Talk
22:00 – 23:00 Blacksmoke, The Danger Global Warming project Film
Freitag, 4. März
17:00 – 18:30 Lucy Walker: Waste Land Film
19:00 – 20:30 Holger Hagge, Nikolaus Hirsch, Joseph Grima, Building Cubes Talk
21:00 – 22:00 Talk Apparatjik, Holger Hagge, Nikolaus Hirsch & Joseph Grima
22:00 – 23:00 Apparatjik Ipad Disco Combat Performance
Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental platform and collaborates with media technicians, designers, and scientists. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective as artistic director on special occasions.
Apparatjik's live debut took place in 2010 at the Berlin club WMF in a cube inspired by László Moholy-Nagy's legendary Light-Space-Modulator. Live Guests of Apparatjik are Mexican artist Laura Anderson Barbata; Linda Poppe, Survival International Germany; Holger Hagge, chief architect at Deutsche Bank; Nikolaus Hirsch, rector of Städelschule, Joseph Grima, editor-in-chief Domus magazine; and musician Erik Ljunggren.
Die Veranstaltungen finden in englischer Sprache statt.
Programm download
Samstag, 15. Januar 2011
Natascha Sadr Haghighian
Vortrag
Natascha Sadr Haghighian: looking awry - the geometry of a cross-eyed subject
Dienstag, 18. Januar 2011, 19 Uhr, Aula
„Recently it seemed necessary to reconstruct situations geometrically in order to understand why I sometimes suddenly start going cross-eyed in a strange sort of way. Not that I am seeing double; instead, a hole develops exactly in the middle of my field of vision. It permits me to look only at the margins of an event. What kinds of events do this to my vision and what happens on the margins of a visual event? This presentation tries to recap a few examples of such situations and discuss a potential practice of the cross-eyed subject.“
Natascha Sadr Haghighian was born in Sachsenheim, Germany in 1968 and lives and works in Great Britain. In 1985 he emigrated to the U.S.A. to set up a ranch. There he fell in love with a Drag Queen, with whom he still lives together. He has been working since 2002 as a freelance artist and living in the Cotswolds, Great Britain. Through his lover he discovered, and in time conquered the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things. (This biographical note is borrowed from www.bioswop.net)
Die Veranstaltung findet in englischer Sprache statt.
Natascha Sadr Haghighian: looking awry - the geometry of a cross-eyed subject
Dienstag, 18. Januar 2011, 19 Uhr, Aula
„Recently it seemed necessary to reconstruct situations geometrically in order to understand why I sometimes suddenly start going cross-eyed in a strange sort of way. Not that I am seeing double; instead, a hole develops exactly in the middle of my field of vision. It permits me to look only at the margins of an event. What kinds of events do this to my vision and what happens on the margins of a visual event? This presentation tries to recap a few examples of such situations and discuss a potential practice of the cross-eyed subject.“
Natascha Sadr Haghighian was born in Sachsenheim, Germany in 1968 and lives and works in Great Britain. In 1985 he emigrated to the U.S.A. to set up a ranch. There he fell in love with a Drag Queen, with whom he still lives together. He has been working since 2002 as a freelance artist and living in the Cotswolds, Great Britain. Through his lover he discovered, and in time conquered the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things. (This biographical note is borrowed from www.bioswop.net)
Die Veranstaltung findet in englischer Sprache statt.
Freitag, 14. Januar 2011
Atarimae-No-Koto (a matter of course)
Performance
Sadaharu Horio & KUKI: "Atarimae-No-Koto (a matter of course)"
Mi. 02.02.2011 19:00, Frankfurt LAB, Schmidtstr. 12, Frankfurt am Main
Eröffnung
Mittwoch 2. Februar 19-21h
Performance
Donnerstag 3. Februar 19-21h
Performance
Freitag, 4. Februar 17-19h
Performance
Samstag, 5. Februar 17-19h
Performance
Sonntag, 6. Februar 15-19h
Als Mitglied der legendären Avantgarde-Bewegung Gutai arbeitet der japanische Künstler Sadaharu Horio seit vielen Jahren unter dem allgemeinen Topos “Atarimae-no-koto” (a matter of course). Im Rahmen der Frankfurter Positionen 2011 entwickelt er ein Objekt, das sich als papierenes Faltbild umschreiben ließe. Den Prozess dorthin präsentiert er über fünf Tage hinweg gemeinsam mit Assistenten seines Teams „KUKI“. In einer Folge von Performances ohne im Voraus exakt festgeschriebene Abläufe, aber immer in konkretem Bezug auf den Raum und dessen Bedingungen bildet sich allmählich das Kunstwerk heraus. Die einzelnen Entstehungsphasen vom Falten eines Papiers in raumgreifendem Format bis zu experimentellen Formen des Farbauftrags werden für das Publikum sichtbar gemacht.
Sadaharu Horio & KUKI: "Atarimae-No-Koto (a matter of course)"
Mi. 02.02.2011 19:00, Frankfurt LAB, Schmidtstr. 12, Frankfurt am Main
Eröffnung
Mittwoch 2. Februar 19-21h
Performance
Donnerstag 3. Februar 19-21h
Performance
Freitag, 4. Februar 17-19h
Performance
Samstag, 5. Februar 17-19h
Performance
Sonntag, 6. Februar 15-19h
Als Mitglied der legendären Avantgarde-Bewegung Gutai arbeitet der japanische Künstler Sadaharu Horio seit vielen Jahren unter dem allgemeinen Topos “Atarimae-no-koto” (a matter of course). Im Rahmen der Frankfurter Positionen 2011 entwickelt er ein Objekt, das sich als papierenes Faltbild umschreiben ließe. Den Prozess dorthin präsentiert er über fünf Tage hinweg gemeinsam mit Assistenten seines Teams „KUKI“. In einer Folge von Performances ohne im Voraus exakt festgeschriebene Abläufe, aber immer in konkretem Bezug auf den Raum und dessen Bedingungen bildet sich allmählich das Kunstwerk heraus. Die einzelnen Entstehungsphasen vom Falten eines Papiers in raumgreifendem Format bis zu experimentellen Formen des Farbauftrags werden für das Publikum sichtbar gemacht.
The Frankfurt Conversation
Sonntag, 30. Januar 2011, ab 16 Uhr
im Chagallsaal Schauspiel Frankfurt
The Frankfurt Conversation
Hans Ulrich Obrist & Nikolaus Hirsch
Ein Projekt der Städelschule im Rahmen der Frankfurter Positionen 2011 - eine Initiative der BHF-BANK-Stiftung
Nach dem Vorbild des Serpentine Marathon, wie er seit 2005 in London und andernorts stattfindet, inszeniert der Kurator Hans Ulrich Obrist gemeinsam mit dem Städelschule-Rektor Nikolaus Hirsch "The Frankfurt Conversation". Frankfurterinnen und Frankfurter aus Kunst, Kultur und Wissenschaft werden jeweils eine Etappe des Gesprächs-Marathons übernehmen.
Hans Ulrich Obrist entwickelte die Idee zum inzwischen etablierten Interview-Marathon als experimentelle Form eines öffentlichen Events, das durch sein offenes Konzept eine Verknüpfung von Vortrag, Diskussion und Performance erlaubt. Der hybride Mix von Persönlichkeiten und ihren Präsentationsweisen lässt die verschiedenen Inhalte miteinander korrelieren und eröffnet neue Zusammenhänge.
Mit der Frankfurter Version eines Dauer-Gesprächs setzt Hans Ulrich Obrist jenes offene Format fort, das als Programm für die Serpentine Gallery Pavillion Commission entwickelt wurde: Seit 2000 präsentiert jährlich ein international renommierter Architekt oder Designer für die Dauer von drei Monaten seine Arbeit. – Ein Konzept, das von der Serpentine Gallery-Direktorin Julia Peyton-Jones veranlasst wurde und als regelmäßige, aber temporäre Struktur die Plattform für künstlerischen wie intellektuellen Austausch bietet. Dementsprechend fand der erste Londoner Gesprächs-Marathon unter Mitwirkung von Rem Koolhaas statt (2006), dann der so genannte Experimental Marathon (2007), Manifesto Marathon (2008), Poetry-Marathon (2009) sowie ein Mini-Marathon in Peking (Jahreswechsel 2008/2009) und Marathon Marathon in Athen (2010).
im Chagallsaal Schauspiel Frankfurt
The Frankfurt Conversation
Hans Ulrich Obrist & Nikolaus Hirsch
Ein Projekt der Städelschule im Rahmen der Frankfurter Positionen 2011 - eine Initiative der BHF-BANK-Stiftung
Nach dem Vorbild des Serpentine Marathon, wie er seit 2005 in London und andernorts stattfindet, inszeniert der Kurator Hans Ulrich Obrist gemeinsam mit dem Städelschule-Rektor Nikolaus Hirsch "The Frankfurt Conversation". Frankfurterinnen und Frankfurter aus Kunst, Kultur und Wissenschaft werden jeweils eine Etappe des Gesprächs-Marathons übernehmen.
Hans Ulrich Obrist entwickelte die Idee zum inzwischen etablierten Interview-Marathon als experimentelle Form eines öffentlichen Events, das durch sein offenes Konzept eine Verknüpfung von Vortrag, Diskussion und Performance erlaubt. Der hybride Mix von Persönlichkeiten und ihren Präsentationsweisen lässt die verschiedenen Inhalte miteinander korrelieren und eröffnet neue Zusammenhänge.
Mit der Frankfurter Version eines Dauer-Gesprächs setzt Hans Ulrich Obrist jenes offene Format fort, das als Programm für die Serpentine Gallery Pavillion Commission entwickelt wurde: Seit 2000 präsentiert jährlich ein international renommierter Architekt oder Designer für die Dauer von drei Monaten seine Arbeit. – Ein Konzept, das von der Serpentine Gallery-Direktorin Julia Peyton-Jones veranlasst wurde und als regelmäßige, aber temporäre Struktur die Plattform für künstlerischen wie intellektuellen Austausch bietet. Dementsprechend fand der erste Londoner Gesprächs-Marathon unter Mitwirkung von Rem Koolhaas statt (2006), dann der so genannte Experimental Marathon (2007), Manifesto Marathon (2008), Poetry-Marathon (2009) sowie ein Mini-Marathon in Peking (Jahreswechsel 2008/2009) und Marathon Marathon in Athen (2010).
Dienstag, 11. Januar 2011
Boris Buden
Forensic Aesthetics: Vortrag
Boris Buden: History is a corpse
Donnerstag, 13. Januar, 19 Uhr, Aula
The lecture reports on a case study in which a means of architectural visualisation are deployed to forensically analyse the historical process of desecularization. The method is highly rhetorical and can be directly translated into the liberal theory of secular state. One looks into history with a sort of forensic interest, as into a corpse that can provide useful information for the court proceedings.
Boris Buden is a writer and cultural critic based in Berlin. He received his PhD in cultural theory from Humboldt University in Berlin. In the 1990s he was editor of the magazine Arkzin in Zagreb. His publications cover the topics of philosophy, politics, cultural and art criticism. Recently published: Zone des Übergangs, Frankfurt/Main (2009).
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Boris Buden: History is a corpse
Donnerstag, 13. Januar, 19 Uhr, Aula
The lecture reports on a case study in which a means of architectural visualisation are deployed to forensically analyse the historical process of desecularization. The method is highly rhetorical and can be directly translated into the liberal theory of secular state. One looks into history with a sort of forensic interest, as into a corpse that can provide useful information for the court proceedings.
Boris Buden is a writer and cultural critic based in Berlin. He received his PhD in cultural theory from Humboldt University in Berlin. In the 1990s he was editor of the magazine Arkzin in Zagreb. His publications cover the topics of philosophy, politics, cultural and art criticism. Recently published: Zone des Übergangs, Frankfurt/Main (2009).
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Anselm Franke
Forensic Aesthetics: Vortrag
Anselm Franke: Boundary Studies - Are there Criteria for the Communication with Things?
Mittwoch, 12. Januar, 19 Uhr, Aula
What is the role of aesthetic processes in drawing the boundaries between what counts as "subjects" or "persons", and "things"? Against the backdrop of a long-term research and series of exhibitions on Animism, Franke will explore different models of accounting for, variously, the "agency", the "social life", or the "language" of things. What are the political blind spots in the divergent protocols that account of things and their role in socio-technologhical networks? What are the models of mediation?
Anselm Franke is a curator and critic based in Berlin and Brussels. From 2006- 2010, he was Director of Extra City Kunsthal Antwerp, Belgium, where he curated exhibitions such Animism (2010-2012), Mimétisme (2008) and Sergei Eisenstein: The Mexican Drawings (2009). Previously, he was curator of KW Institute for Contemporary Art in Berlin, where he co-organized exhibitions such as Territories (2003-2004) and the collaborative project No Matter How Bright the Light, the Crossing Occurs At Night (2006). He was a co-curator of Manifesta 7 in Trento, Italy, in 2008, and is part of the curatorial team of the Forum Expanded of the International Filmfestival Berlin since 2005. He is a guest lecturer at the HISK in Gent, among others, and currently completes his PhD at Goldsmiths College in London.
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Anselm Franke: Boundary Studies - Are there Criteria for the Communication with Things?
Mittwoch, 12. Januar, 19 Uhr, Aula
What is the role of aesthetic processes in drawing the boundaries between what counts as "subjects" or "persons", and "things"? Against the backdrop of a long-term research and series of exhibitions on Animism, Franke will explore different models of accounting for, variously, the "agency", the "social life", or the "language" of things. What are the political blind spots in the divergent protocols that account of things and their role in socio-technologhical networks? What are the models of mediation?
Anselm Franke is a curator and critic based in Berlin and Brussels. From 2006- 2010, he was Director of Extra City Kunsthal Antwerp, Belgium, where he curated exhibitions such Animism (2010-2012), Mimétisme (2008) and Sergei Eisenstein: The Mexican Drawings (2009). Previously, he was curator of KW Institute for Contemporary Art in Berlin, where he co-organized exhibitions such as Territories (2003-2004) and the collaborative project No Matter How Bright the Light, the Crossing Occurs At Night (2006). He was a co-curator of Manifesta 7 in Trento, Italy, in 2008, and is part of the curatorial team of the Forum Expanded of the International Filmfestival Berlin since 2005. He is a guest lecturer at the HISK in Gent, among others, and currently completes his PhD at Goldsmiths College in London.
Mit freundlicher Unterstützung durch kulturfonds frankfurt rheinmain und Heinz und Gisela Friederichs Stiftung.
Mittwoch, 8. Dezember 2010
LEONARD KAHLCKE
Performance
"Tokat"
21.01.2011, 19:00h
Ort: Stiftstrasse 34, Frankfurt am Main
Konzeptuelle Herangehensweisen spielen in den interdisziplinären
Arbeiten von Leonard Kahlcke eine wichtige Rolle. Die zunehmende Relevanz der Ästhetisierung in allen Lebensbereichen ist für den Künstler zentral, denn hierin liegen für ihn Formen und Potentiale für symbolischen und politischen
Widerstand. Geschickt infiltriert und attackiert er gesellschaftliche
Normen und deren ästhetische Codes, indem er die herrschenden Codes auch ästhetisch kontert. Diese Taktik ist stilbildend für Kahlckes Werk.
In der performativen Installation für New Frankfurt Internationals
setzt sich Kahlcke mit der Architektur und der
Bedeutung von zentralen und repräsentativen Plätzen der
Innenstadt auseinander. Fotos von Jugendbanden der 1980er
und 1990er Jahre, die er innerhalb der Szene recherchiert hat,
stellt er eigens angefertigte, aktuelle Fotografien von „Repräsentationsarchitektur“
gegenüber. Kahlcke macht in einer narrativen Schau die Phänomene repressiver Raumaneignung visuell erfahrbar. Hierzu Kahlcke: „Es geht um den Wandel der Metropole, die repräsentierende Dominanz von Architektur und Mensch, Zugehörigkeit und Nichtzugehörigkeit, sowie den Machtanspruch auf zentrale Räume der Stadt – oder besser, warum der Kampf um die Innenstadt wichtig ist.“
Leonard Kahlcke wurde 1975 in Frankfurt a. M., Deutschland geboren.Er studierte an der Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M.
"Tokat"
21.01.2011, 19:00h
Ort: Stiftstrasse 34, Frankfurt am Main
Konzeptuelle Herangehensweisen spielen in den interdisziplinären
Arbeiten von Leonard Kahlcke eine wichtige Rolle. Die zunehmende Relevanz der Ästhetisierung in allen Lebensbereichen ist für den Künstler zentral, denn hierin liegen für ihn Formen und Potentiale für symbolischen und politischen
Widerstand. Geschickt infiltriert und attackiert er gesellschaftliche
Normen und deren ästhetische Codes, indem er die herrschenden Codes auch ästhetisch kontert. Diese Taktik ist stilbildend für Kahlckes Werk.
In der performativen Installation für New Frankfurt Internationals
setzt sich Kahlcke mit der Architektur und der
Bedeutung von zentralen und repräsentativen Plätzen der
Innenstadt auseinander. Fotos von Jugendbanden der 1980er
und 1990er Jahre, die er innerhalb der Szene recherchiert hat,
stellt er eigens angefertigte, aktuelle Fotografien von „Repräsentationsarchitektur“
gegenüber. Kahlcke macht in einer narrativen Schau die Phänomene repressiver Raumaneignung visuell erfahrbar. Hierzu Kahlcke: „Es geht um den Wandel der Metropole, die repräsentierende Dominanz von Architektur und Mensch, Zugehörigkeit und Nichtzugehörigkeit, sowie den Machtanspruch auf zentrale Räume der Stadt – oder besser, warum der Kampf um die Innenstadt wichtig ist.“
Leonard Kahlcke wurde 1975 in Frankfurt a. M., Deutschland geboren.Er studierte an der Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M.
CLAUS RICHTER
Performance
"The Dog, that knew too much"
4. Februar 2011, 19Uhr
MA* ehemalige Diamantenbörse
Stephanstraße 1 – 3
Richter performt üblicherweise in Kooperation mit Oliver Husain
und Sergej Jensen. Für New Frankfurt Internationals entwickelt
er eine grelle Mini-Solo Show, gespielt mit Hundehandpuppen,
die nur von ihm selbst handelt.
Die Geschichte dreht sich ganz um die abenteuerlichen,
absurden und traurigen Momente, die der gestresste Künstler
an einem Arbeitstag erlebt, besonders im Bezug zu Auftraggebern,
Kuratoren und Galeristen.
Hitzige Diskussionen und konträre Standpunkte werden
auf Hundeart ausgetragen und mit kleinen Kunststücken untermalt.
Eingefasst ist die Performance in ein aus Pappmasche
gebautes Bühnenbild, welches an die flüchtige TV-Entertainmentindustrie
erinnert.
Richters bekanntes Muppetshow-Faible, welches auch seine
früheren Arbeiten inspirierte, nutzt er geschickt, um spielerisch
und phantasievoll Problematiken des Kunstbetriebes
aufzuzeigen. Hierbei werden Hierarchien unter den Künstlern
oder die eigene Glaubwürdigkeit subversiv pointiert. Beware
of the dogs!
Claus Richter wurde 1971 in Lippstadt, Deutschland geboren. Er studierte an der
Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M. und Köln.
"The Dog, that knew too much"
4. Februar 2011, 19Uhr
MA* ehemalige Diamantenbörse
Stephanstraße 1 – 3
Richter performt üblicherweise in Kooperation mit Oliver Husain
und Sergej Jensen. Für New Frankfurt Internationals entwickelt
er eine grelle Mini-Solo Show, gespielt mit Hundehandpuppen,
die nur von ihm selbst handelt.
Die Geschichte dreht sich ganz um die abenteuerlichen,
absurden und traurigen Momente, die der gestresste Künstler
an einem Arbeitstag erlebt, besonders im Bezug zu Auftraggebern,
Kuratoren und Galeristen.
Hitzige Diskussionen und konträre Standpunkte werden
auf Hundeart ausgetragen und mit kleinen Kunststücken untermalt.
Eingefasst ist die Performance in ein aus Pappmasche
gebautes Bühnenbild, welches an die flüchtige TV-Entertainmentindustrie
erinnert.
Richters bekanntes Muppetshow-Faible, welches auch seine
früheren Arbeiten inspirierte, nutzt er geschickt, um spielerisch
und phantasievoll Problematiken des Kunstbetriebes
aufzuzeigen. Hierbei werden Hierarchien unter den Künstlern
oder die eigene Glaubwürdigkeit subversiv pointiert. Beware
of the dogs!
Claus Richter wurde 1971 in Lippstadt, Deutschland geboren. Er studierte an der
Hochschule für Gestaltung, Offenbach a. M. Er lebt und arbeitet in Frankfurt a. M. und Köln.
MICHELE DI MENNA
Performance
"A performance of motions in large proportions"
29.01.2011, 19:00h
Nur mit Anmeldung unter post@fkv.de
Ort: MesseTurm
60308 Frankfurt
Performance, Skulptur, Text, Collage, Video und Klanginstallation
umkreisen sich in der Kunst von Michele Di Menna, formen
gemeinsam und doch für sich mögliche Welten, in denen die
Künstlerin stets alleinige Protagonistin bleibt – eine Dirigentin
der Form der Dinge, die kommen. Während einige Elemente
ihrer Installation aus festen Materialkomponenten bestehen,
ergibt sich ein Gesamtbild von Flüchtigkeit in Di Mennas Performances,
bei denen alle Elemente Verwendung finden. Von
den Performances bleiben die Kostüme, Skulpturen, Collagen
und Videos sowohl als Überreste vergangener Ereignisse
zurück, als auch als eigenständige Objekte. So funktionieren
die Environments der Künstlerin als flüchtige Erscheinungsformen
eines von Bewegung beherrschten Schaffensprozesses.
Michele Di Menna inszeniert komplexe Situationen, mit
denen sie die Beziehung zwischen menschlichem Körper und
Kommunikation in den Grenzen des architektonischen Raums
auslotet. In ihrer Performance für New Frankfurt Internationals
plant Di Menna die ephemere Erkundung eines mysteriösen
Vorgangs im berühmten Frankfurter Messeturm.
Die Künstlerin wird u. a. den absurden Prestige-Kampf in
modernen Metropolen um die Höhe von Hochhäusern thematisieren.
Ihr besonderer Fokus gilt den architektonisch-spekulativen
Freiräumen, in dem die Kultur auf Ökonomie trifft und
in zweckentfremdeten Spitzaufbauten, wie Antennen, Pyramiden
und aufeinandergestapelte Klimanlagen ihren Ausdruck
finden.
Michele di Menna wurde 1980 in Vancouver, Kanada geboren. Sie studierte am Emily Carr Institute of Art and Design, Vancouver und an der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Berlin.
Mit besonderen Dank an: MesseTurm Frankfurt am Main
"A performance of motions in large proportions"
29.01.2011, 19:00h
Nur mit Anmeldung unter post@fkv.de
Ort: MesseTurm
60308 Frankfurt
Performance, Skulptur, Text, Collage, Video und Klanginstallation
umkreisen sich in der Kunst von Michele Di Menna, formen
gemeinsam und doch für sich mögliche Welten, in denen die
Künstlerin stets alleinige Protagonistin bleibt – eine Dirigentin
der Form der Dinge, die kommen. Während einige Elemente
ihrer Installation aus festen Materialkomponenten bestehen,
ergibt sich ein Gesamtbild von Flüchtigkeit in Di Mennas Performances,
bei denen alle Elemente Verwendung finden. Von
den Performances bleiben die Kostüme, Skulpturen, Collagen
und Videos sowohl als Überreste vergangener Ereignisse
zurück, als auch als eigenständige Objekte. So funktionieren
die Environments der Künstlerin als flüchtige Erscheinungsformen
eines von Bewegung beherrschten Schaffensprozesses.
Michele Di Menna inszeniert komplexe Situationen, mit
denen sie die Beziehung zwischen menschlichem Körper und
Kommunikation in den Grenzen des architektonischen Raums
auslotet. In ihrer Performance für New Frankfurt Internationals
plant Di Menna die ephemere Erkundung eines mysteriösen
Vorgangs im berühmten Frankfurter Messeturm.
Die Künstlerin wird u. a. den absurden Prestige-Kampf in
modernen Metropolen um die Höhe von Hochhäusern thematisieren.
Ihr besonderer Fokus gilt den architektonisch-spekulativen
Freiräumen, in dem die Kultur auf Ökonomie trifft und
in zweckentfremdeten Spitzaufbauten, wie Antennen, Pyramiden
und aufeinandergestapelte Klimanlagen ihren Ausdruck
finden.
Michele di Menna wurde 1980 in Vancouver, Kanada geboren. Sie studierte am Emily Carr Institute of Art and Design, Vancouver und an der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Berlin.
Mit besonderen Dank an: MesseTurm Frankfurt am Main
MICHAEL RIEDEL
Performance (mit Daniel Baumann)
„Antrittsrede als neuer Direktor des Frankfurter Kunstvereins 2008”
7.01.2011, 19:00h
Ort: „Oskar-von-Miller Strasse 16“ (Mainzer Landstr. 105, HH)
60329 Frankfurt
2000 gründete Michael Riedel mit Denis Loesch den mittlerweile
legendenumwobenen Ausstellungsraum Oskar-von-Miller
Strasse 16 an gleichnamiger Stelle in Frankfurt, der Ort
an dem auch die Freitagsküche begann. 2006 wurde das Gebäude
abgerissen, was zu einem vorübergehenden Ortswechsel
nach Berlin führte, wo die Oskar-von-Miller Strasse 16 in der
Weydinger Strasse 20 in Berlin-Mitte zu finden war. Seit Anfang
dieses Jahres ist Michael Riedel wieder in Frankfurt.
Für die Ausstellung New Frankfurt Internationals findet in
dem neuen Ausstellungshaus in der Mainzer Landstrasse 105
noch einmal seine Antrittsrede als neuer Leiter des Frankfurter
Kunstvereins statt, die er gemeinsam mit Daniel Baumann am
09. Oktober 2008 im FKV gehalten, und darin eine Neuausrichtung
der Institution Kunstverein formuliert hat.
Michael Riedel wurde 1972 geboren. Er studierte an der Kunstakademie Düsseldorf; der Städelschule, Frankfurt a. M. und
der École Nationale Supérieure des Beaux-Arts, Paris. Er lebt und arbeitet in Frankfurt a. M. und New York
„Antrittsrede als neuer Direktor des Frankfurter Kunstvereins 2008”
7.01.2011, 19:00h
Ort: „Oskar-von-Miller Strasse 16“ (Mainzer Landstr. 105, HH)
60329 Frankfurt
2000 gründete Michael Riedel mit Denis Loesch den mittlerweile
legendenumwobenen Ausstellungsraum Oskar-von-Miller
Strasse 16 an gleichnamiger Stelle in Frankfurt, der Ort
an dem auch die Freitagsküche begann. 2006 wurde das Gebäude
abgerissen, was zu einem vorübergehenden Ortswechsel
nach Berlin führte, wo die Oskar-von-Miller Strasse 16 in der
Weydinger Strasse 20 in Berlin-Mitte zu finden war. Seit Anfang
dieses Jahres ist Michael Riedel wieder in Frankfurt.
Für die Ausstellung New Frankfurt Internationals findet in
dem neuen Ausstellungshaus in der Mainzer Landstrasse 105
noch einmal seine Antrittsrede als neuer Leiter des Frankfurter
Kunstvereins statt, die er gemeinsam mit Daniel Baumann am
09. Oktober 2008 im FKV gehalten, und darin eine Neuausrichtung
der Institution Kunstverein formuliert hat.
Michael Riedel wurde 1972 geboren. Er studierte an der Kunstakademie Düsseldorf; der Städelschule, Frankfurt a. M. und
der École Nationale Supérieure des Beaux-Arts, Paris. Er lebt und arbeitet in Frankfurt a. M. und New York
ADRIAN WILLIAMS
Performance
"At Hand – episode one"
11.12.10, 19:00h
Ort: MMK Vortragssaal
Adrian Williams‘ Arbeiten erzählen Geschichten in Form von
Performances, Tonstücken, Interventionen, Filmen, Objekten
und Papierarbeiten. Sie erfindet fiktionale Charaktere und
bettet diese teilweise in wirkliche Situationen ein. In ihren Performances
verbinden sich Filme, Texte, Sprache, Geräusche,
Musik und Sound. In Zusammenarbeit und Interaktion mit einem
Komponisten, Musikern, einem Geräuschemacher, der mit Hilfe
von Gegenstände und Aufbauten Geräusche imitiert, sowie
einem Schauspieler vertont sie live die Kurzgeschichte At Hand.
Dieses Stück schildert die spannende Geschichte eines
fiktiven Protagonisten, dessen Gepäck am Frankfurter Flughafen
verloren geht, sowie seine Suche und Versuche, dieses Gepäckstück
wiederzubekommen. Der Titel At Hand deutet darauf hin,
dass etwas bevorsteht oder passiert, wie die Performance
selbst oder aber die hierbei erzählten Ereignisse, die vor allem
jene Momente kurz vor einer Begebenheit beschreiben.
Während Williams die Geschichte erzählt, reagieren die
Musiker und der Foley-Editor klanglich darauf und steigern so
die Dramaturgie. At Hand basiert auf der Transkription einer
sechsteiligen Serie, die Adrian Williams in diesem Jahr über sechs
Monate hinweg in einer einstündigen Radiosendung erdachte,
erzählte und performte. At Hand – Episode One ist der erste Teil
dieser Serie.
Adrian Williams wurde 1979 in Portland, Oregon, USA geboren.
Sie studierte an der Pacific North-west College of Art ,Portland, Oregon,USA; der Cooper Union School of Art, New York und
der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Frankfurt a. M.
"At Hand – episode one"
11.12.10, 19:00h
Ort: MMK Vortragssaal
Adrian Williams‘ Arbeiten erzählen Geschichten in Form von
Performances, Tonstücken, Interventionen, Filmen, Objekten
und Papierarbeiten. Sie erfindet fiktionale Charaktere und
bettet diese teilweise in wirkliche Situationen ein. In ihren Performances
verbinden sich Filme, Texte, Sprache, Geräusche,
Musik und Sound. In Zusammenarbeit und Interaktion mit einem
Komponisten, Musikern, einem Geräuschemacher, der mit Hilfe
von Gegenstände und Aufbauten Geräusche imitiert, sowie
einem Schauspieler vertont sie live die Kurzgeschichte At Hand.
Dieses Stück schildert die spannende Geschichte eines
fiktiven Protagonisten, dessen Gepäck am Frankfurter Flughafen
verloren geht, sowie seine Suche und Versuche, dieses Gepäckstück
wiederzubekommen. Der Titel At Hand deutet darauf hin,
dass etwas bevorsteht oder passiert, wie die Performance
selbst oder aber die hierbei erzählten Ereignisse, die vor allem
jene Momente kurz vor einer Begebenheit beschreiben.
Während Williams die Geschichte erzählt, reagieren die
Musiker und der Foley-Editor klanglich darauf und steigern so
die Dramaturgie. At Hand basiert auf der Transkription einer
sechsteiligen Serie, die Adrian Williams in diesem Jahr über sechs
Monate hinweg in einer einstündigen Radiosendung erdachte,
erzählte und performte. At Hand – Episode One ist der erste Teil
dieser Serie.
Adrian Williams wurde 1979 in Portland, Oregon, USA geboren.
Sie studierte an der Pacific North-west College of Art ,Portland, Oregon,USA; der Cooper Union School of Art, New York und
der Städelschule, Frankfurt a. M. Sie lebt und arbeitet in Frankfurt a. M.
MARIA LOBODA
Performance
"that obscure object (The bad boys of Harvard)"
10.12.10-13.02.11
Ort: entlang der Braubachstrasse, Frankfurt a.M.
Foto: Axel Schneider
Als "The bad boys of Harvard" wurde eine Gruppe von jungen Landschaftsarchitektur-Studenten um Garrett Eckbo und James Rose in Harvard in den 30ern bezeichnet, welche in ihrer Arbeit stark von Gropius, Malevitsch und Moholy Nagy beeinflusst wurden.
Sie widersetzen sich der, bis dato, klassischen Auffassung von amerikanischer Landschaftsarchitektur, dem "Beaux-Art Movement" welches eine dekorative Umsetzung bevorzugte und gelten bis heute als Pioniere eines modernen, radikaleren, sozial orientierten Designs.
James Rose wurde für seine progressiven Ideen von Indoor-Outdoor Gärten sowie einem Schwerpunkt auf geometrischem Design aus Harvard ausgewiesen.
In ihrer neuen in situ Arbeit "The bad boys of Harvard" beschäftigt sich Maria Loboda mit der Idee von radikalen Landschaftsarrangements, sowie der surrealen Ebene welches ein "continuity mistake", eine Erscheinung aus der Filmkunst, die durch Anschlussfehler in der Szenenkoordination oder der Schnitttechnik entsteht, mit sich bringt.
Mehrere, geometrisch geschnittene Buchsbäume, eigentlich ein bourgeoises Symbol, bewegen sich, im wöchentlichen Rhythmus, im öffentlichen Raum um das MMK und den Frankfurter Kunstverein, als eine Art "Wald in Bewegung" - eine "Gang" welche ihre passive Rolle als dekorative Gartenelemente durch Veränderung ihrer Standortes aufgeben und sich der Architektur des öffentlichen Raum in den Weg stellen.
Diese Performance „in flux“, entwickelt ihre Narration schrittweise über die gesamte Ausstellungsdauer. Durch die Veränderung der Position der Protagonisten; der Buchsbäume, spielt Maria Loboda ebenfalls auf die Fehler im Ablauf einer Choreopraphie an.
Bricht der „continuity mistake“ in den Alltag ein, werden die Grenzen von Realität und Fiktion in Frage gestellt. Der Gedanke des Kontrollverlustes über die Phänomene des Alltags, die Erfahrung, dass das „Ich nicht Herr im eigenen Haus ist“ (Sigmund Freud), die Eröffnung eines surrealen Raumes im Stadtraum, ermöglicht dem Betrachter, seine eigene Narration im Verhältnis zu Zeit und Ort neu zu erleben.
Maria Loboda wurde 1979 in Krakow, Polen geboren. Sie studierte an der Städelschule. Sie lebt und arbeitet in Berlin.
Mit besonderen Dank an: Baumschule Peselmann, Bad Homburg
"that obscure object (The bad boys of Harvard)"
10.12.10-13.02.11
Ort: entlang der Braubachstrasse, Frankfurt a.M.
Foto: Axel Schneider
Als "The bad boys of Harvard" wurde eine Gruppe von jungen Landschaftsarchitektur-Studenten um Garrett Eckbo und James Rose in Harvard in den 30ern bezeichnet, welche in ihrer Arbeit stark von Gropius, Malevitsch und Moholy Nagy beeinflusst wurden.
Sie widersetzen sich der, bis dato, klassischen Auffassung von amerikanischer Landschaftsarchitektur, dem "Beaux-Art Movement" welches eine dekorative Umsetzung bevorzugte und gelten bis heute als Pioniere eines modernen, radikaleren, sozial orientierten Designs.
James Rose wurde für seine progressiven Ideen von Indoor-Outdoor Gärten sowie einem Schwerpunkt auf geometrischem Design aus Harvard ausgewiesen.
In ihrer neuen in situ Arbeit "The bad boys of Harvard" beschäftigt sich Maria Loboda mit der Idee von radikalen Landschaftsarrangements, sowie der surrealen Ebene welches ein "continuity mistake", eine Erscheinung aus der Filmkunst, die durch Anschlussfehler in der Szenenkoordination oder der Schnitttechnik entsteht, mit sich bringt.
Mehrere, geometrisch geschnittene Buchsbäume, eigentlich ein bourgeoises Symbol, bewegen sich, im wöchentlichen Rhythmus, im öffentlichen Raum um das MMK und den Frankfurter Kunstverein, als eine Art "Wald in Bewegung" - eine "Gang" welche ihre passive Rolle als dekorative Gartenelemente durch Veränderung ihrer Standortes aufgeben und sich der Architektur des öffentlichen Raum in den Weg stellen.
Diese Performance „in flux“, entwickelt ihre Narration schrittweise über die gesamte Ausstellungsdauer. Durch die Veränderung der Position der Protagonisten; der Buchsbäume, spielt Maria Loboda ebenfalls auf die Fehler im Ablauf einer Choreopraphie an.
Bricht der „continuity mistake“ in den Alltag ein, werden die Grenzen von Realität und Fiktion in Frage gestellt. Der Gedanke des Kontrollverlustes über die Phänomene des Alltags, die Erfahrung, dass das „Ich nicht Herr im eigenen Haus ist“ (Sigmund Freud), die Eröffnung eines surrealen Raumes im Stadtraum, ermöglicht dem Betrachter, seine eigene Narration im Verhältnis zu Zeit und Ort neu zu erleben.
Maria Loboda wurde 1979 in Krakow, Polen geboren. Sie studierte an der Städelschule. Sie lebt und arbeitet in Berlin.
Mit besonderen Dank an: Baumschule Peselmann, Bad Homburg
Montag, 15. November 2010
VASIF KORTUN
Vortrag
Vasif Kortun: Instituting Now [in istanbul]
Dienstag, 30. November 2010, 19 Uhr, Aula
Vasif Kortun is a writer, curator and teacher in the field of contemporary art. He is the founding director of Platform Garanti CAC a non-profit contemporary art institution with an extensive library, documentation center, artist archives, exhibition space and an international residency program for artists, critics and curators. He also founded Proje4L, Istanbul Museum of Contemporary Art [2001- 2003], where he curated seminal exhibitions of artist from Turkey. The first director of the Museum of the Center for Curatorial Studies at Bard College [1994 and 1997], he organized the first U.S. museum exhibitions of artists like Kara Walker, Nedko Solakov and Boris Mikhailov. Vasif Kortun was the chief curator of the 1992, and co-curator of 2005 Istanbul Biennials; a co-curator of Sao Paolo [1998], Second Ceramics Biennial [Albisola, 2003], Taipei Biennial in [2008], He is the curator of the UAE Pavilion, Venice Bienial [2011]. He has curated the Turkish pavilions for 1994 and 1998 Sao Paolo and 2007 Venice Biennials. He is a board member of the Foundation for Arts Initiatives, and sits on the advisory committees of the Periferic Biennial; Artists Pension Trust Dubai, The Gyeonggi Creation Center, Korea, and Broadsheet Magazine Australia.
The lecture will revolve around questions of attempting to institute specificity with a focus on SALT a new program to open in Istanbul in the Spring of 2011.
Vasif Kortun: Instituting Now [in istanbul]
Dienstag, 30. November 2010, 19 Uhr, Aula
Vasif Kortun is a writer, curator and teacher in the field of contemporary art. He is the founding director of Platform Garanti CAC a non-profit contemporary art institution with an extensive library, documentation center, artist archives, exhibition space and an international residency program for artists, critics and curators. He also founded Proje4L, Istanbul Museum of Contemporary Art [2001- 2003], where he curated seminal exhibitions of artist from Turkey. The first director of the Museum of the Center for Curatorial Studies at Bard College [1994 and 1997], he organized the first U.S. museum exhibitions of artists like Kara Walker, Nedko Solakov and Boris Mikhailov. Vasif Kortun was the chief curator of the 1992, and co-curator of 2005 Istanbul Biennials; a co-curator of Sao Paolo [1998], Second Ceramics Biennial [Albisola, 2003], Taipei Biennial in [2008], He is the curator of the UAE Pavilion, Venice Bienial [2011]. He has curated the Turkish pavilions for 1994 and 1998 Sao Paolo and 2007 Venice Biennials. He is a board member of the Foundation for Arts Initiatives, and sits on the advisory committees of the Periferic Biennial; Artists Pension Trust Dubai, The Gyeonggi Creation Center, Korea, and Broadsheet Magazine Australia.
The lecture will revolve around questions of attempting to institute specificity with a focus on SALT a new program to open in Istanbul in the Spring of 2011.
Samstag, 13. November 2010
DJ SPOOKY
Vortrag
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula
In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.
Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.
Die Veranstaltung findet in englischer Sprache statt.
Paul D. Miller (DJ Spooky): Sound Unbound
Dienstag, 14. Dezember 2010, 19Uhr, Aula
In Zusammenarbeit mit dem Weltkulturen Museum Frankfurt am Main.
Sound Unbound is Paul D. Miller's follow up to his award winning first
book Rhythm Science (MIT Press, 2004). First and foremost, Sound
Unbound is an anthology - it's a collection of thirty-six essays that
focus on the role of the artist, composer, and writer in a world that is
becoming more interconnected every day.
In a lecture format, exploring the overall theme of sound in
contemporary art, digital media, and composition, Miller reconstructs
the history of sound and recorded media by several of the most well
known artists of their field - ranging from Brian Eno, Steve Reich,
Moby, Chuck D, and Pierre Boulez, to artists, writers and theoreticians
like Jonathan Lethem, Bruce Sterling, Manuel Delanda, and even
Islamic culture's relationship to hip hop with essay by media activist
and artist Naeem Mohaimen. In using the essays that are in Sound
Unbound, Miller makes the lecture format a cross between a formal
exploration of the issues Sound Unbound focused on, and the remix
concept that drives much of the book. It's a rip-mix-burn-lecture.
Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid
asks artists to describe their work and compositional strategies in their
own words. These are reports from the front lines on the role of sound
and digital media in an information-based society. Miller's lecture will
be an hour, and is accompanied by his use of many historic texts, rare
audio recordings and films, to demonstrate the complex relationship
between text and art in a multimedia context.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 9. November 2010
MARKUS MIESSEN
Vortrag
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula
Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.
Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.
Markus Miessen: Welcome to Harmonistan!
Donnerstag, 18. November 2010, 19 Uhr, Aula
Welcome to Harmonistan! Over the last decade, the term “participation” has become increasingly overused. When everyone has been turned into a participant, the often uncritical, innocent, and romantic use of the term has become frightening. Supported by a repeatedly nostalgic veneer of worthiness, phony solidarity, and political correctness, participation has become the default of politicians withdrawing from responsibility. Similar to the notion of an independent politician dissociated from a specific party, this third part of Miessen’s “Participation” trilogy encourages the role of what he calls the “crossbench practitioner,” an “uninterested outsider” and “uncalled participator” who is not limited by existing protocols, and who enters the arena with nothing but creative intellect and the will to generate change. Miessen argues for an urgent inversion of participation, a model beyond modes of consensus. Instead of reading participation as the charitable savior of political struggle, Miessen candidly reflects on the limits and traps of its real motivations. Rather than breading the next generation of consensual facilitators and mediators, he argues for conflict as an enabling, instead of disabling, force. The book calls for a format of conflictual participation—no longer a process by which others are invited “in,” but a means of acting without mandate, as uninvited irritant: a forced entry into fields of knowledge that arguably benefit from exterior thinking. Sometimes, democracy has to be avoided at all costs.
Markus Miessen (*1978) is an architect, consultant, educator, and writer. In 2002, he set up Studio Miessen, a collaborative agency for spatial practice and cultural inquiry, and in 2007, he co-founded the London- and Berlin-based architectural practice nOffice. In various collaborations, Miessen has (co-)published: The Nightmare of Participation – Crossbench Praxis as a Mode of Criticality (Sternberg Press, 2010), Institution Building: Artists, Curators, Architects in the Struggle for Institutional Space (Sternberg Press, 2009), When Economies Become Form (Berlage Institute, 2009), East Coast Europe (Sternberg Press, 2008), The Violence of Participation (Sternberg Press, 2007), With/Without: Spatial Products, Practices, and Politics in the Middle East (Bidoun, 2007), Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006), and Spaces of Uncertainty (Müller+Busmann, 2002). In 2008, The Independent listed Did Someone Say Participate? as one of the ten best architecture books of all time. Miessen frequently contributes to international magazines and journals, such as Artforum, Log, 032c, Bidoun, Volume, and Kaleidoscope. His work has been published and exhibited widely, including at the Lyon, Venice, Performa (NY), Manifesta (Murcia), and Shenzhen Biennials. He has taught and lectured at the Architectural Association, London (2004–08), the Berlage Institute, Rotterdam (2009–10), Columbia University, and MIT. He has consulted the Slovenian Government during Slovenia’s presidency of the EU council, the European Kunsthalle, the Serpentine Gallery, the Dutch organization SKOR, and the Swiss think tank W.I.R.E. In 2008, he founded the Winter School Middle East (Dubai/Kuwait). Miessen currently works (with Joseph Grima) as a Harvard Fellow on a research project in Kuwait, is a professor for architecture and curatorial practice at the Hochschule für Gestaltung (Karlsruhe), a Ph.D. candidate at the Centre for Research Architecture (Goldsmiths, London), an editor of Archive Journal (Berlin/Turin), and recently has been elected a member of the European Cultural Parliament.
Montag, 8. November 2010
THOMAS KEENAN
Vortrag
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula
Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?
Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.
Thomas Keenan: Evidence and Exposure: On Antiphotojournalism
Freitag, 12. Novembert 2010, 19 Uhr, Aula
Artists, reporters, citizens, scholars, activists and archivists are doing exciting things that link the image to political and social struggles, often in unexpected ways. Their work is interesting in its own right, and for the deeper questions it often raises about the fundamental concepts of photojournalism. What are evidence, access, coverage, reporting, bearing witness, and how are these practices in their hegemonic form increasingly fragile and open to reconsideration?
Thomas Keenan is Director of the Human Rights Program at Bard College, New York. He is a writer and educator whose work addresses literary and political theory, the role of the media in states of conflict, and human rights. He is the author of "Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics" (1997) and the editor of "The End(s) of the Museum" (1996), coeditor of "New Media, Old Media" (2005) and "Paul de Man, Wartime Journalism, 1939–1943" (1988). He is an editorial and advisory board member of the Journal of Human Rights, Grey Room, WITNESS, and Scholars at Risk Network. (1999– ). He recently co-curated "Antiphotojournalism" at La Virreina Centre de la Imatge in Barcelona, including artists such as Phil Collins, Hito Steyerl, Renzo Martens andd Walid Raad.
EYAL WEIZMAN
Vortrag
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Eyal Weizman: Forensic Architecture
Donnerstag, 11. November 2010, 19 Uhr, Aula
The principle of forensics assumes that events, as complex and multivalented as they might be, are registered within the material properties of objects, bodies or spaces – relational objects that we will refer to as “things”. The principle of forensics assumes two interrelated sets of spatial relations. The first is a relation between an event and the objects in which it is registered, and the second is a relation between the object and the forum that is assembled around it. Forensics is thus both the investigation of objects and the creation of forums.
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009).
Dienstag, 2. November 2010
WILLEM DE ROOIJ
Herzliche Einladung zu den Veranstaltungen der Städelschule!
Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula
Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de
Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.
Vortrag
Willem de Rooij: About
Dienstag, 16. November 2010, 19 Uhr, Aula
Willem de Rooij’s work is determined by the selection and combination of images in diverse media, such as sculpture, film, photography and text. His work analyzes the conventions of presentation and representation and assesses the tension between socio-political and autonomous image production. Where early film installations already had a sculptural quality, his most recent exhibitions became works of art in their own right, often incorporating found materials or appropriated works of art.
De Rooij's lecture will focus on works produced over the last 5 years, and especially on his most current installation 'Intolerance' which is on show at the Neue Nationalgalerie in Berlin till January 3 2011. www.intolerance-berlin.de
Willem de Rooij (*1969) studied at the Gerrit Rietveld Academie in Amsterdam from 1990-95 and at the Rijksakademie there from 1997-98. He has been a tutor at De Ateliers in Amsterdam since 2002 and professor of fine arts at the Städelschule in Frankfurt am Main since 2006. The artist lives and works in Berlin.
Joint exhibition activities with Jeroen de Rijke till 2006, followed by exhibitions at K 21, Düsseldorf (2007) and at the Museo d’Arte Moderna di Bologna (2008). Robert Fulton Fellowship at Harvard University in 2004 and representation of the Netherlands at the Venice Biennale in 2005. Among other institutions, his works can be found in the collections of the Nationalgalerie in Hamburger Bahnhof – Museum für Gegenwart, Berlin, at the MUMOK in Vienna, and the MoMA in New York.
Montag, 1. November 2010
ANSELM HAVERKAMP
Festvortrag im Rahmen der Auftaktveranstaltung des Masterstudiengangs Curatorial and Critical Studies
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt
Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.
Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt
Anselm Haverkamp: Unidentified Cultural Objects - Die Zeit der Kuratoren
Dienstag, 2. November 2010, 17 Uhr, Goethe-Universität Frankfurt
Der Vortrag behandelt den interdiziplinären Gegenstand der Curatorial Studies beim gegenwärtigen Stand des kulturellen Kapitals.
Anselm Haverkamp lehrt Literatur und Philosophie in New York, Berlin und München. Nach der Habilitation in Konstanz ging er zuerst nach Yale und von dort nach New York, wo er seit 1989 Professor of English an NYU ist. Von 1996 bis 2009 hatte er außerdem eine Gründungsprofessur an der Kulturwissenschaftlichen Fakultät der Europa-Universität Viadrina inne, wo er zwei DFG-Graduiertenkollegs und den integralen Masterstudiengang für Literatur Kunst und Philosophie begründete.
Veranstaltungsort:
Goethe-Universität Frankfurt
Campus Bockenheim
Jügelhaus HA
Mertonstr.17-21
60325 Frankfurt
Mittwoch, 7. Juli 2010
relational lockout
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
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
"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.
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