Vortrag Architecture Class
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 28. Mai 2015
Philipp Demandt: Nur keine violetten Schweine!
Vortrag Curatorial Studies
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Montag, 25. Mai 2015
Louis Becker: People, Space, Daylight
Vortrag Architecture Class
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon
Vortrag Curatorial Studies
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Paul O´Neill: Curating beyond the Canon - The Exhibition-as-Medium, the Exhibition-as-Form, Co-productive Exhibition-making and Attentiveness.
Mittwoch, 27. Mai 2015, 19 Uhr, Aula
The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production. This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition-form.
Paul O’Neill is a curator, writer, artist, and educator. He is currently Director of the Graduate Program in Curatorial Studies at the Center for Curatorial Studies, Bard College. He is international tutor on the de Appel Curatorial Program, Amsterdam, and international research fellow with The Graduate School of Creative Arts and Media, Dublin.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 21. Mai 2015
Philipp Demandt: Nur keine violetten Schweine!
Vortrag
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Philipp Demandt: Nur keine violetten Schweine!
Dienstag, 02 Juni 2015, 18 Uhr
Goethe-Universität, Campus Westend, Cas. 1.802
Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Mittwoch, 20. Mai 2015
Bisi Silva: Curating The Local
Vortrag
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Bisi Silva: Curating The Local
Dienstag, 26. Mai 2015, 19 Uhr, Aula
Bisi Silva is an independent curator and the founder/director of Centre for Contemporary Art, Lagos (CCA, Lagos) which opened in December 2007. She was recently appointed as the Artistic Director of the 10th Bamako Encounters: African Biennale of Photography taking place in Nov/Dec 2015.
Silva co-curated The Progress of Love, a transcontinental collaboration across three venues in Nigeria and America. (Oct 2012 - Jan 2013). She was co-curator of J.D. ‘Okhai Ojeikere: Moments of Beauty, Kiasma, Helsinki (April - Nov 2011). She was co-curator for the 2nd Thessaloniki Biennale of Contemporary Art, Greece, ‘Praxis: Art in Times of Uncertainty’ September 2009. In 2006 Silva was one of the curators for the Dakar Biennale in Senegal. Bisi Silva has participated in several international conferences and symposia and written essays for many publications as well as for international art magazines and journals such as Artforum, Third Text, The Exhibitionist, and is on the editorial board of Art South Africa, N.Paradoxa. She is guest editor for Manifesta Journal: Around Curatorial Practices No17 (Sept 2013). She was a member of the international jury for the 55th Venice Biennale (June 2013). She has been the recipient of several prestigious international fellowships and residencies including Clark/Mellon Curatorial Fellowship at Clark Art Institute, MA, 2011, the Rockefeller Foundation Bellagio Scholars’ Residency Programme, Italy in July 2012 and at Sacatar Institute, Bahia, Brazil, (July –Sept 2013).
The talk will be about Silvas curatorial work and specifically the way in which she tries to respond through CCA Lagos to the challenge of curating in a content in which infrastructure deficits - physical and discursive - exists. She will talk about the importance of creating local content that resonates globally. Her talk will highlight a flagship programme of CCA, Lagos, Asiko an innovative programme that is part art academy, part art laboratory and part art residency and its impact on curatorial and educational development across the continent.
Der Vortrag findet in englischer Sprache statt.
Montag, 18. Mai 2015
Bouchra Khalili: Foreign Office
Vortrag
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Bouchra Khalili: Foreign Office
Donnerstag, 21. Mai 2015, 19 Uhr, Aula
Bouchra Khalili is a Berlin-based Moroccan-French artist. Born in Casablanca, she later studied Film at Sorbonne Nouvelle and Visual Art at the École Nationale Supérieure d'Arts de Paris-Cergy.
Through language, subjectivity, orality, and transitional territories, Khalili's work (film, video, installation, photography and prints) focuses on historical speculation and the representation of subjects rendered invisible by the nation-state, to investigate strategies and discourses of resistance as elaborated and narrated from the perspective of political minorities.
Khalili's work has been internationally exhibited, as at "Here & Elsewhere", New Museum (New York, 2014) ; "Positions", Van Abbemuseum (Eindhoven, 2014) ; "The Encyclopedic Palace", 55th Venice Biennale (2013) ; "Cross-Border", ZKM, Karlsruhe (2013); "Salon Der Angst", Kunsthalle Wien (2013); "La Triennale", Palais de Tokyo (Paris, 2012) ; The 18th Biennale of Sydney (2012); << Mapping Subjectivity >> at MoMA (New York, 2011); The 10th Sharjah Biennial (2011); among others. Recent solo exhibitions include: "Foreign Office" at Palais de Tokyo, Paris (2015) ; "Garden Conversation" at Macba, Barcelona (2015) ; "Speeches - Chapter 3: Living Labour" at PAMM, Miami (2013) ; "The Opposite of the Voice-Over", Justina M. Barnicke Gallery, Toronto (2013) ; "Wet Feet and More" at DAAD Galerie, Berlin, (2013). Khalili is also the recipient of numerous grants and awards, as such as: "Abraaj Group Art Prize, 2014"; "Sam Art Prize 2014", Sam Art Foundation, Paris ; "DAAD-Artist in Berlin" (2012) ; Vera List Center for Art and Politics Fellowship (The New School, New York, 2011-2013) ; Villa Médicis Hors les Murs (2010).
"Foreign Office" combines a digital film, a series of photographs and a silkscreen print. Produced in Algier in Fall 2014 and currently on view at Khalili's solo show at Palais de Tokyo in Paris, this new body of works investigates the period during which Algiers - between 1962 and 1972 - became the "capital of revolutionaries", hosting delegations of movements of liberation from Africa, Asia and the Americas. Taking as a starting point this forgotten part of post-independent Algeria, "Foreign Office" invites to reflect on the articulations between history, historiography and oral history, their transmission, and the status of forgotten utopias. For this lecture, Bouchra Khalili will introduce the project as well as the method she developed to conduct it.
Der Vortrag findet in englischer Sprache statt.
Montag, 11. Mai 2015
Cara Benedetto: buy to possess, love to own
Vortrag
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Cara Benedetto: buy to possess, love to own
Freitag, 15. Mai 2015, 19 Uhr, Aula
Cara Benedetto is an instructor and artist. Benedetto’s work is about the process of becoming woman. The voice is multiple, emotional, vulnerable, considerate, and assertive. It is the voice of a self that is becoming part of the social, a sexuate being, a citizen and member of the world, unafraid of imposed structures and psychologies of fear, domination, and subordination. A voice that is as angry as it is willing, desirous of being represented in a complex way. A voice that resists the enslavement of women for free labor that the patriarch and capitalism both demand and rely upon.
Benedetto will present recent work that refers to her Against Coming project that dissolves the notion of ‘coming’ as used in a phallocentric economy or patriarchy. She has exhibited at ICA Philadelphia; Chapter NY; Taxter and Spengemann, NY; Night Gallery, LA; and Metro Pictures, NY. Her work has been reviewed in Gallerist NY, Art in America, The Art Book Review, and NYT Magazine. She is currently a Visiting Assistant Professor of Art at Carnegie Mellon School of Art.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Vortrag
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
Minouk Lim
Montag, 11. Mai 2015, 19 Uhr, Aula
When war broke out in Korea in 1950, the South Korean government committed a series of massacres against the civilian population. Ordered by the leader of the South Korean government, Syngman Rhee, the mass murders were intended to annihilate those who were suspected of supporting the North or been accused of being traitors that had helped the Korean People’s Army. Even today, little is known about how and why these people died. Thirty years later, on May 18, 1980, people in Gwangju took to the streets to defend their country’s fledgling democracy. The newly installed military regime under Doohwan Chun slanderously portrayed the protesters as communists and commanded a massacre. Again, hundreds of people were killed and thousands wounded.
The work of South Korean artist Minouk Lim (*1968) explores these turning points in Korean political history: events that many prefer to forget and certainly do not wish to dwell on. Lim draws on historical and political reality to develop works including installations, sculptures, videos, and performance pieces that deal with South Korea and its capital, Seoul. The artist has devised a visual language designed to put the rapid growth and development that have remade the country’s face over the past decade on hold in order to initiate a process for which the German language has the peculiar word Vergangenheitsbewältigung: an effort to come to terms with the past.
During her presentation at Städelschule Minouk Lim will talk about her most recent works as well as on her upcoming exhibition at Portikus on May 15.
Der Vortrag findet in englischer Sprache statt.
Freitag, 24. April 2015
Loretta Fahrenholz
Vortrag
Loretta Fahrenholz
Dienstag, 28. April 2015, 19 Uhr, Aula
During the past few years Fahrenholz has gained recognition for a style of digital cinema that merges an old school documentary ethic with the manipulations of contemporary image technologies. Inserting her camera into live social situations and institutional contexts, the artist constructs narratives with the real, using digital post-production to produce reconstructed documents. Her juxtaposition of pop culture references with intense human interactions creates an uneasy presence on screen and nods towards our interpersonal connections of the near future.
The talk will focus on Fahrenholz's New York films Implosion, an adaptation of a Kathy Acker script in a high rise condo near Ground Zero in Manhattan, Grand Openings Return of the Blogs, documenting a performance series of the collective Grand Openings at MoMA in 2011 and Ditch Plains, a futuristic disaster movie shot in Brooklyn at the time of Hurricane Sandy.
Loretta Fahrenholz lives in Berlin and New York. Recent films include: My Throat, My Air (2014); Ditch Plains (2013); Grand Openings Return of the Blogs (2012); Implosion (2011) and Haust (2010). Fahrenholz work has been shown at Galerie Buchholz, Cologne (2015); Reena Spaulings Fine Arts, New York (2013), The Hammer Museum, Los Angeles (2015), Modern Art Oxford, Oxford, United Kingdom (2014); 10th Shanghai Biennale (2014); Museum of Contemporary African Diasporan Arts, Brooklyn, (2014), Institute of Contemporary Arts, London (2014); Museum of Modern Art, Warsaw (2014); KW Institute for Contemporary Art, Berlin (2014); Kunsthalle Basel, Basel, Switzerland (2014); Artists Space, New York (2013); Arnolfini, Bristol, United Kingdom (2013); Sprengel Museum, Hannover, Germany (2012); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012).
Der Vortrag findet in englischer Sprache statt.
Loretta Fahrenholz
Dienstag, 28. April 2015, 19 Uhr, Aula
During the past few years Fahrenholz has gained recognition for a style of digital cinema that merges an old school documentary ethic with the manipulations of contemporary image technologies. Inserting her camera into live social situations and institutional contexts, the artist constructs narratives with the real, using digital post-production to produce reconstructed documents. Her juxtaposition of pop culture references with intense human interactions creates an uneasy presence on screen and nods towards our interpersonal connections of the near future.
The talk will focus on Fahrenholz's New York films Implosion, an adaptation of a Kathy Acker script in a high rise condo near Ground Zero in Manhattan, Grand Openings Return of the Blogs, documenting a performance series of the collective Grand Openings at MoMA in 2011 and Ditch Plains, a futuristic disaster movie shot in Brooklyn at the time of Hurricane Sandy.
Loretta Fahrenholz lives in Berlin and New York. Recent films include: My Throat, My Air (2014); Ditch Plains (2013); Grand Openings Return of the Blogs (2012); Implosion (2011) and Haust (2010). Fahrenholz work has been shown at Galerie Buchholz, Cologne (2015); Reena Spaulings Fine Arts, New York (2013), The Hammer Museum, Los Angeles (2015), Modern Art Oxford, Oxford, United Kingdom (2014); 10th Shanghai Biennale (2014); Museum of Contemporary African Diasporan Arts, Brooklyn, (2014), Institute of Contemporary Arts, London (2014); Museum of Modern Art, Warsaw (2014); KW Institute for Contemporary Art, Berlin (2014); Kunsthalle Basel, Basel, Switzerland (2014); Artists Space, New York (2013); Arnolfini, Bristol, United Kingdom (2013); Sprengel Museum, Hannover, Germany (2012); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012).
Der Vortrag findet in englischer Sprache statt.
Peter Wächtler
Vortrag
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Montag, 20. April 2015
Zin Taylor: Stripes and Dots on the Isle of Portikus
Ausstellung zur Nacht der Museen
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Nina Power: Philosophy and the public
Vortrag
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Vortrag
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo
Vortrag
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 3. Februar 2015
Raimundas Malašauskas
Vortrag
Raimundas Malašauskas
Mittwoch, 4. Februar 2015, 19 Uhr, Aula
The story of complex objects is told by apparently random structures that organize the attention and intensity of all that is around. That means you always have to watch out for them not to fall on your head. Yet on the positive side, it means that everything is here and available and you need no striving. You only need interferences and deviations to be able to move through them, in unexpected jerks and flows, a bit like the axolotl and the way it manages to swim without coordinating its limbs – sometimes it just freezes for a while. And this talk too is a projection device for a three-dimensional, possibly inconspicuous image to emerge, imprinted on time as their recording medium.
Raimundas Malašauskas was born in Vilnius (Lithuania), curates in the world, writes occasionally. His most recent public projects include In My Previous Life I Wanted To Be a Tablet, Instituto de Vision, Bogota (2015); Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires (2014); and Oo, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).
Der Vortrag findet in englischer Sprache statt.
Raimundas Malašauskas
Mittwoch, 4. Februar 2015, 19 Uhr, Aula
The story of complex objects is told by apparently random structures that organize the attention and intensity of all that is around. That means you always have to watch out for them not to fall on your head. Yet on the positive side, it means that everything is here and available and you need no striving. You only need interferences and deviations to be able to move through them, in unexpected jerks and flows, a bit like the axolotl and the way it manages to swim without coordinating its limbs – sometimes it just freezes for a while. And this talk too is a projection device for a three-dimensional, possibly inconspicuous image to emerge, imprinted on time as their recording medium.
Raimundas Malašauskas was born in Vilnius (Lithuania), curates in the world, writes occasionally. His most recent public projects include In My Previous Life I Wanted To Be a Tablet, Instituto de Vision, Bogota (2015); Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires (2014); and Oo, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).
Der Vortrag findet in englischer Sprache statt.
Montag, 26. Januar 2015
Stuart Bailey
Vortrag
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw
Vortrag
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 20. Januar 2015
Isla Leaver-Yap
Vortrag
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Montag, 8. Dezember 2014
Ellen Blumenstein
Vortrag Curatorial Studies
Ellen Blumenstein: Why Curating Thematically: Fire and Forget, an Exhibition Project at KW
Mittwoch, 10. Dezember 2014, 19 Uhr, Aula
"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition Fire and Forget takes the military expression as the starting point for an examination of the conventional ideas about war and armed force. The project revolves around the new dimensions of violence that go with the new technologies, and the new strategies required by this central challenge to our future coexistence. The exhibition is oriented towards the most visible agent of violence: weapons. Fire and Forget applies the means of art to address the long-term effects of these new weapons on the human psyche. The exhibition looks at the political aporia this new detachment between physical violence and imminent threat involves and at the meaning that history, recollection and forgetting may have for the outbreak or avoidance of violence under these new conditions.
Ellen Blumenstein *1976 in Witzenhausen, Germany lives and works in Berlin. Blumenstein has been chief curator of KW Institute for contemporary art, Berlin since January 2013. In her first year, she realized the exhibitions "Relaunch", "Kader Attia: Repair. 5 Acts" and "Real Emotions: Thinking in Film", as well as launching comprehensive public programs and professional partnerships. In her second year she premiered the first solo exhibitions in Germany of artists Ryan Trecartin, Kate Cooper, Channa Horwitz and Elin Hansdottir. Before KW, she was an independent curator, member of the curatorial collective THE OFFICE and founder of the project space Salon Populaire. Between 1998-2005 she worked as a curator for KW Institute for Contemporary Art, where she realized the exhibition project "Regarding Terror: The RAF-Exhibition" (with Klaus Biesenbach, Felix Ensslin, 2005). Since, she curated the exhibition "Between Two Deaths" at ZKM in Karlsruhe (with Felix Ensslin, 2007), and in 2011 she curated the Icelandic Pavilion at the Venice Biennial (Libia Castro and "lafur "lafsson).
Der Vortrag findet in englischer Sprache statt.
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