Vortrag
Michael Riedel: 8 Kunst & Publikation
Dienstag, 12. Juni 2012, 19 Uhr, Aula
... ich spreche über meine Publikationen aus den Jahren 97 bis 2010 der Vortrag dauert fünfundvierzig Minuten das sind etwa dreihundertsiebzig Bilder die ich zeigen werde davon sind sechzig schwarz eine meiner ersten Publikationen 1997 war eine Papiertüte auf die ich meinen Namen geschrieben hatte sie ist entstanden anlässlich eines Vortrags den ich gehalten habe an der Städelschule während meines Studiums in dem Vortrag ging es um Möglichkeiten Entdecke die Möglichkeiten hieß es damals bei Ikea oder auch Das Leben ist voller Möglichkeiten Audi und Nichts ist unmöglich Toyota und mit zunehmendem Maße ging es um die Möglichkeit an sich und der Existenz die an der Möglichkeit zu existieren scheitert so hieß es zumindest damals im Vortrag und der Vortrag endet damit dass ich mir diese Tüte aufsetze und sage ich bin Michael Riedel Beschriftung ist immer etwas von außen angebrachtes und in diesem Fall bin ich derjenige der außen steht und sich selbst beschriftet mit anderen Worten ich bin nicht mehr nur der Künstler der Kunst macht sondern vielmehr auch der Künstler der sich beim Kunst machen zuschaut und das als Kunst versteht damit verschiebt sich auch die Position des Betrachters der jetzt zuschauen muss wie der Künstler sich selbst zuschaut beim Machen ... Auszug aus dem Text "Publikation" (veröffentlicht in "Perlstein" – Michael Riedel, Koenig Books London, 2011)
Michael Riedel is known for his conceptual practice of restaging prior events and re-presenting existing texts, objects and audio recordings. Over the past decade, the artist's highly conceptual practice has embodied a wide range of mediums and formats, including large-scale works on canvas, fabric works, film and video, audio recordings, artist's books, posters, installations and events.
Dienstag, 12. Juni 2012
Montag, 4. Juni 2012
Nairy Baghramian
Vortrag
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Mittwoch, 30. Mai 2012
Can Altay
Lecture
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Nora Schultz
Lecture
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Montag, 21. Mai 2012
Carsten Nicolai
Vortrag
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Suhail Malik
Vortrag
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Dienstag, 15. Mai 2012
Gayatri Spivak
Vortrag
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Montag, 14. Mai 2012
COSIMA VON BONIN AND MORITZ VON OSWALD
Vortrag
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
Dienstag, 8. Mai 2012
Superflex
Vortrag
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Mittwoch, 25. April 2012
African Cinema Series
African Cinema Series, 9. – 13. Mai 2012
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Montag, 23. April 2012
Peter Greenaway
Vortrag
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Etcetera…
Vortrag
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Richard Jackson
Vortrag
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Dienstag, 7. Februar 2012
Rundgang 2012
Rundgang – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
Pressemitteilung: download
Freitag, 10. – Sonntag, 12. FEBRUAR 2012
Eröffnung mit Preisverleihung: Freitag, 10. Februar, 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, eine 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 2011 nahmen mehr als
13.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr
2012 werden rund 180 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: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" Daimlerstraße 32
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.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" 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
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Pressemitteilung: download
Freitag, 10. – Sonntag, 12. FEBRUAR 2012
Eröffnung mit Preisverleihung: Freitag, 10. Februar, 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, eine 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 2011 nahmen mehr als
13.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr
2012 werden rund 180 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: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" Daimlerstraße 32
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.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" 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
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Dienstag, 31. Januar 2012
Eyal Weizman
Vortrag
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula
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. In 2010/11 he was a guest professor at the Städelschule.
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), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.
Die Veranstaltung findet in englischer Sprache statt.
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula
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. In 2010/11 he was a guest professor at the Städelschule.
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), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.
Die Veranstaltung findet in englischer Sprache statt.
Daniel Wetzel / Rimini Protokoll
Vortrag
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Sonntag, 22. Januar 2012
Brigitte Weingart
Vortrag
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Emily Wardill
Vortrag
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Dienstag, 17. Januar 2012
John Levack Drever
Vortrag
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
Freitag, 13. Januar 2012
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