Heba Y. Amin: Subverting the Media as Artistic Practice

Vortrag

Heba Y. Amin: Subverting the Media as Artistic Practice
Dienstag, 21. Juni 2016, 19 Uhr, Aula


Heba Y. Amin is an Egyptian visual artist and scholar whose work is embedded in extensive research addressing the convergence of politics, technology, and urbanism. She is particularly interested in tactics of subversion and techniques used to undermine systems as well as topics surrounding critical spatial practice and critical geography. While often relating to the contemporary political situation in Egypt, she doesn’t see art simply as a tool for political transformation, but is rather interested in how art and politics can interact in multiple complex ways. Amin is also one of the artists behind the subversive action on the set of the television series “Homeland” which received worldwide media attention and led to the making of the short film "Homeland is not a Series" produced by Field of Vision (The Intercept).

Amin received her MFA at the University of Minnesota and is a DAAD grant recipient (2010-2012), a Rhizome Commissions grant winner (2009) and a recent short-listed artist for the Artraker prize (2014). She is currently the curator of visual art for MIZNA journal (US), curator for the biennial residency program DEFAULT with Ramdom Association (IT) and co-founder of the Black Athena Collective. Her artistic work has been shown worldwide with recent exhibitions at Dak’Art 2016 Biennale, the Marrakech Biennale 2016 Parallel Projects, the Museum of Modern Art in Warsaw, the Kunstverein Hamburg, Berlin Berlinale Forum Expanded (2014, 2016), and the IV Moscow International Biennale for Young Art. She lives between Berlin and Cairo. More information on her work can be found at www.hebaamin.com.

Der Vortrag findet in englischer Sprache statt.

Benjamin Buchloh: Looking Back at Books

Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age

Benjamin Buchloh: Looking Back at Books
Mittwoch, 22. Juni 2016, 19 Uhr, Aula

Just when the cultural tendencies at large have declared the end of the print media in general - and the disappearance of the book in particular - it seems appropriate to look back once more in slight wonder and bewilderment at the euphoria with which books was celebrated at the onset of Conceptual Art in the early to the mid 1960s; celebrated as an event of a revolutionary revision of all previously existing forms of artistic production and distribution.

The lecture attempts to clarify that historical moment, its blind enthusiasm and its hypertrophic delusions resulting from a deep investment in a belief, that technological changes in book form would actually contribute inevitably to progressive forms of perception and overall processes of socio-political enlightenment.

At the same time, the lecture attempts also to invert the traditionally optimistic reading of these Conceptual books from Ed Ruscha in 1962 to Lawrence Weiner, and from Bernd and Hilla Becher to Marcel Broodthaers in 1968. And we will try to historicize the strangely antiquated utopian belief of these artists in the power of books, as a peculiar misreading. Rather than being endowed with an emerging radicality of the transformations of readerly and writerly forms of experience, the printing and photographic technologies of these books were by that time actually threatened with disappearance and extinction, as we now know.

Ringvorlesung Sommersemester 2016:

Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?

It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?


Die Veranstaltung findet in englischer Sprache statt. 

Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century

Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age

Beatrice von Bismarck: Efficiency and Wastefulness. Paradoxes of the artist's image in the 21st century.
Donnerstag, 23. Juni 2016, 19 Uhr, Aula

For the last almost two decades artists have become role-models within contemporary society. A development which is largely due to the characteristics ascribed to them: freedom, creativity and self-determination. The appropriation of these qualities within social contexts, however, is taking place with contradictory signs: While on the one hand, what is asked for, is the use of self-organizational skills in working contexts, synergetic exchanges between different forms of knowledge production and innovative potentials of economic or ecological development processes. What is overlooked on the other hand is that these qualities precisely elude demands of utility or efficiency. 

In times of the newly reheated debates on the Bologna process, the precarious working conditions in a post-fordist economy and the continuing instrumentalization of the so-called creative class how does this affect the image of the artist? Instead of being economically appropriated how can the assigned qualities - as parts of this image - become culturally, socially and politically operative again?

Beatrice von Bismarck is professor for art history and visual studies at the Hochschule für Grafik und Buchkunst (HGB) Leipzig and program director of the academy’s own gallery. She lives in Berlin and Leipzig.

Ringvorlesung Sommersemester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?


Die Veranstaltung findet in englischer Sprache statt. 

Julia Moritz & Yannic Joray: Zerschwörung - from Freeport to Deepscum

Vortrag
Julia Moritz & Yannic Joray: ZERSCHWÖRUNG - A SORCERER'S APPENDIX
Mittwoch, 6. Juni 2016, 19 Uhr, Aula

On a journey with the enigmatic literary figure Nemo, this lecture, reading, and discussion session by  Julia Moritz and Yannic Joray dives into some subaltern layer of trans-atlantic relations that we suggest to take back into account for contemporary critical cultural analysis, particularly with regard to neoliberal macro-politics and their resulting institutional templates for Art.

In canonical art history lessons, the Salon de Refusés in Paris (1863) and the succeeding Salon des Indépendants marks a corrective and consequential move away from the cultural establishment courting the Royal Academy. For the first time, exhibitions and art fairs with an ‘open call’ policy addressed their bourgeois audiences directly (viewers and buyer alike) in order to approve their programming (and not the Royal Jury anymore). This supposedly rebellious and so called ‘birth of modernity’ was saluted by Napoleon III and the likes and so -- we propose a diverging, more literal reading of this landmark moment in Art’s struggle for autonomy: Jules Verne’s timely as well as trans-historical figure Captain Nemo, the deep sea dweller, the protagonist of Twenty Thousand Leagues Under the Seas: An Underwater Tour of the World (1869/70).

Persistingly penetrating British colonial maritime merchant vessels, the submariner Nemo was described by Verne as of Indian descent and therefore keen to avenge Imperial abuse overseas. Not unlike a sequel to Moby Dick, the story begins with Nemo abducting a group of American whalers and inducting them (and the reader) on board the Nautilus to his covert operation. Here, it will be important to consider that during imperial British rule, the military force and trading monopoly in the colonies was solidified, guaranteed and paid for by the British East India Company (EIC, 1600-1874) and the Bank of England -- the very first of a ‘too big to fail’ multinational shareholder company.

This session seeks to orient ourselves and each other in this politico-economical history and its cultural ramifications in order to position our thinking and practice with regard to the tragedy and farce of current global phenomena such as the financial crisis of 2008, the subsequent credit crunch, the easing of monetary policies, and the dominance of central banking. The notion of "tra(ns)versality" (Felix Guattari) and its various mutations may further our speculative inquiry into the meaning of making and moving, including the challenges that recent changes in structure and speed pose to artistic practice and theory alike.

Reference:
http://www.ibiblio.org/julesverne/books/20t_with_5th_reprint_revisions.pdf


Julia Moritz is an art historian and curator currently employed as a Curator of Theory and Programmes at Kunsthalle Zurich. Before, she has headed The Maybe Education and Public Programs of dOCUMENTA (13) in Kassel, Germany (2012). These programmes have intended to nurture the imaginative state needed to inhabit the realm of the “maybe” – of the possible. Moritz was also a curator at the University of Lüneburg (2012) where she has organized the exhibitions and events program of the university’s art space (Kunstraum) and has taught seminars in the cultural studies teaching program. She has worked for major exhibitions such as Manifesta 7 in Trentino/Alto Adige (2008); the German Pavilion at the 52th Biennale di Venezia (2007) and has independently curated several smaller scale projects such as most recently the Young Girl Reading Group Show (with Dorota Gaweda & Egle Kulbokaite, 2016). Moritz has co-edited the volume “Question of the Day” (2007) in which she puts forward a dialogical inquiry into the formats used for art production and distribution that she further elaborated in a PhD dissertation (2010) on institutional critical practice in spaces of conflict (such as the Basque Country), mainly written at the Whitney Independent Studies Program (2009).

Yannic Joray is an artist based in Zurich. He has recently taught seminars at the ZHdK Zurich University of Arts (2015) and the FHNW Academy of Art and Design in Basel (2015) together with Julia Moritz. The course at the ZHdK focused on the Kunsthalle Zürich’s 30-year anniversary and it’s programmatic shifts. Twelve guests joined the seminar, including artist Pauline Boudry and Manifesta 11 curatorial advisor John Beeson. Joray’s works where recently shown at Kunsthalle Bern (2015) and The Duck, Berlin (2015). Together with Lorenzo Bernet, Fredi Fischli and Luca Beeler he co-curated several project spaces in Zurich.

Der Vortrag findet in englischer Sprache statt.

„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen

Tagung, eine Kooperation des MMK Museum für Moderne Kunst Frankfurt am Main, der Curatorial Studies und des Kunstgeschichtlichen Instituts der Goethe-Universität Frankfurt.
„Museen ohne Wände“. Zu literarischen und künstlerischen Museumsfiktionen
Samstag, 2. Juli 2016, 10 Uhr, MMK 1, Vortragssaal

Die Ausstellung „Das imaginäre Museum“ skizziert ein ebenso faszinierendes wie bedrohliches Zukunftsszenario. Es stellt die Selbstverständlichkeit des Museums als einer gesellschaftlich etablierten Institution in Frage.

Ausgehend von André Malraux’ Essay „Musée imaginaire“ werden im Rahmen der Tagung verschiedene künstlerische und literarische Museumsfiktionen diskutiert. Immer wieder haben sich Künstlerinnen und Künstler kritisch und programmatisch mit der Institution ‚Museum‘ auseinandergesetzt. Sie haben danach gefragt, was mit ihren Arbeiten geschieht, wenn sie ins Museum überführt werden. Wie wird ausgewählt und wie bewertet? Umso mehr haben sie die Institution und die damit verbundenen Akteure in den Blick genommen.

Dabei fällt auf, dass das Museum auch in seiner klassischen Form keineswegs nur Anlass zu Kritik gegeben hat, sondern immer auch als Ankerpunkt für künstlerische Experimentalanordnungen nutzbar gemacht wurde. Bei Künstlern und Wissenschaftlern finden sich sowohl Konzepte mit alternativen Präsentationsformen und Objektnachbarschaften, als auch Utopien, die Musealisierungen in Frage stellen und neu denken.

Nicht zuletzt soll auf dieser Basis eine diagnostische Perspektive interessieren: Wie ist es um die Gegenwart des Museums bestellt, wenn seine Selbstverständlichkeit in Frage gestellt ist?

Eine Anmeldung ist nicht erforderlich, der Eintritt ist frei.

Programm
Samstag, 2. Juli 2016

9:30 Uhr
Begrüßung
Peter Gorschlüter

9:45 Uhr
Einführung
Christian Spies und Stefanie Heraeus

10:00 Uhr
Dieter Daniels (Leipzig)
The imaginary readymade

11:00 Uhr
Sebastian Egenhofer (Wien)
Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles, 1968-72

Bis 13:30 Uhr Mittagspause

13:30 Uhr
Dirk Hildebrandt (Frankfurt)
Das Museum als Funktion. Allan Kaprow und die Genese des Happening

14:30 Uhr
Anne-Marie Bonnet (Bonn)
Das Museum meiner Träume

16:00 Uhr
Peter Gorschlüter (Frankfurt)
Führung durch die Ausstellung Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK (MMK 2 im Taunus Turm)

17.30 Uhr Ende der Tagung

Jay Chung & Q Takeki Maeda: Trends in Neo-Expressionist Yuppie Punk

Vortrag
Jay Chung & Q Takeki Maeda: Trends in Neo-Expressionist Yuppie Punk
Dienstag, 7. Juni 2016, 19 Uhr, Aula

This lecture will address a set of “classic” postmodern dilemmas and positions, and their potential relevance to artistic production and reception today. Texts from the 1980’s by Frederic Jameson, Yves Alain Bois, and Achille Bonito Oliva will be closely examined and compared to a curator’s essay published in a group exhibition catalog last year. The lecture will also cover writings by Kari Rittenbach and Roberto Bolaño.

Jay Chung and Q Takeki Maeda have recently exhibited their work at Roppongi Crossing 2016: My Body, Your Voice, Galerie Francesca Pia, Cabinet Gallery, and 356 Mission.

Der Vortrag findet in englischer Sprache statt.

Philippe Pirotte: The Grand Balcony

Vortrag Curatorial Studies
Philippe Pirotte: The Grand Balcony (Biennale de Montreal 2016)
Mittwoch, 8. Juni 2016, 19 Uhr, Aula

 For the exhibition The Grand Balcony the awareness of an artistic consciousness that creates ‘images’ which are materially compulsory in the present though suffused with historic resonance and in parley with the ‘information economy’s heightened dematerialization’ is paramount. Praxis of such images challenges the reproducibility of the (digital) image, decentralized authorship, and the development of attention as currency. Moreover it reframes questions around the physical exhibition space, imitation, tableau, and séance.

The Grand Balcony draws loosely on Jean Genet's Le Balcon, where the play’s high porch is a space of contestation between revolution and counter-revolution, reality and illusion. A recurring motif in Genet's writing, his balcony is a place of perverse acts where representation itself can be perversely troubled. It is a desiring apparatus and a theatrical space that articulates the complex relationship between inside and outside, up and down. The balcony is also subjected to a particular regime of visibility, a space where a person can dramatically stage herself, with power and vulnerability on display.

As a brothel, Genet's Grand Balcony presents a fiercely ironical microcosm of the power elite besieged by revolutionary forces at the gates. In turn, the exhibition The Grand Balcony enacts Genet’s concern with meta-theatricality and role-playing by unfolding experiences alongside “objects” that often refuse to reveal themselves as truths. Along with Genet, The Grand Balcony enlists the infamous Marquis de Sade, who adds the right to pleasure to the canon of human rights. His advocacy of pleasure uncovers the paradoxes of the bourgeois principle of formal equality as it exposes the fact that fantasy categorically resists universalization. Fantasy is the absolutely individual way in which someone structures her/his “impossible” relation to things.

In the tradition of both Genet and de Sade, Le Grand Balcon aims to be an exhibition - simultaneously playful and fatalistic - where things can go astray.

Philippe Pirotte *1972 is a Belgian art historian, critic, curator of numerous international exhibitions and director of Städelschule and Portikus since 2014. From 2005 – 2011, he was the director of the Kunsthalle Bern. Since 2005, Pirotte has been Senior Advisor of the Rijksakademie for Visual Arts in Amsterdam. In 2012, he became Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive and in 1999 he co-founded objective exhibitions, a not-for-profit institution in Antwerp, Belgium.

Die Veranstaltung findet in englischer Sprache statt.

kitchen show #2

kitchen show #2
SOFT SHOULDERS / A Sonic Experiment
Mit Lan Cao, Clémentine Coupau, Gailė Griciūtė, Aki Kitajima, Melanie Matthieu, Thùy-Hân Nguyễn-Chí, Gregor Siedl
Samstag, 28. Mai 2016, 20 Uhr, Lichthalle

Cleaning the kitchen, counting the days
We seek out liminal space
to indulge in this dark lobate database
Polycentric ripples, schisms on repeat
like soft shoulders gentle on the feet
Ping-pong has become obsolete
Solo scrabble is the new trick or treat
Discontinuity
sleeps inside continuity
How to think radical uncertainty?
Tedium and tears nourish me, delicately consume me
The proliferation of C
C as in A plus B
A as in too much hyperlinks
B as a messy metabolism
equals lethargic magnetism

kitchen show #2 is part of the series of exhibitions and performances curated by Felix Bröcker, which is conceived in relation with the film kitchen at Städelschule.

Sponsored by Heinz und Gisela Friederichs Stiftung.

Haegue Yang: Quasi

Vortrag
Haegue Yang: Quasi
Dienstag, 31. Mai 2016, 19 Uhr, Aula

Haegue Yang (1971, Seoul) will talk about her recent exhibitions and projects. She is equally interested in how the formal and conceptual, as well as the narrative language in art, form an irresistible paradox in contemplating and reflecting the conflicts of our time and circumstances. Considering the ever-developing communications technology and its overwhelming possibility, amidst our increasing curiosity on civilization and questions on the status of human beings within it, mute abstraction is nothing but a lingering voice, murmuring an “absence of identity.”

Exhibitions as of late include Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015), Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015), An Opaque Wind, Sharjah Biennial (2015), Quasi-Pagan Minimal, Greene Naftali, New York (2016), and Quasi-Pagan Serial, Hamburger Kunsthalle, Hamburg (2016).

More information is available at www.heikejung.de and on vimeo.

Der Vortrag findet in englischer Sprache statt.

Sylvère Lotringer: Antonin Artaud, “The Man Who Disappeared”

 ***abgesagt (wegen Bahnstreik in Paris) ***

Vortrag
Sylvère Lotringer: Antonin Artaud, “The Man Who Disappeared”
Mittwoch, 1. Juni 2016, 19 Uhr, Aula

Sylvère Lotringer is a literary critic and cultural theorist. He is founder and co-editor of Semiotext(e) and is a professor of Twentieth-Century French literature and philosophy at Columbia University.

He will be discussing his newest project, “The Man Who Disappeared”, a film on one of his lifelong obsessions, the poet Antonin Artaud.

The lecture will be preceded by a special screening of "The Man Who Disappeared" (2015, 45 min), at 18:00 in room I7.

Der Vortrag findet in englischer Sprache statt.

***abgesagt (wegen Bahnstreik in Paris) ***

V. Vale & Marian Wallace: Search & Destroy, Punk publishing and how to DIY

Vortrag
V. Vale & Marian Wallace
Mittwoch, 18. Mai 2016, 19 Uhr, Aula

In 1977 V. Vale founded Search & Destroy, San Francisco’s first punk publication. In 1980 he launched RE/Search Publications, a publishing house that has helped bring artists from the underground to light, such as William S. Burroughs, J.G. Ballard, Genesis P-Orridge, SPK and Monte Cazazza. Along with Marian Wallace, an experimental filmmaker, V. Vale tours the world sharing an impressive history of counter-culture and rich collection of material amassed over the years.

They will give an illustrated talk on Vale’s Punk past and how to start a radical DIY publishing venture.

Der Vortrag findet in englischer Sprache statt.

Kader Attia & Gerhard Kubik

MMK Talks 

Kader Attia & Gerhard Kubik
Dienstag, 10. Mai 2016, 19 Uhr, MMK 1, Domstraße 10, Frankfurt am Main

Der Künstler Kader Attia zählt spätestens seit seiner aufsehenerregenden Präsentation auf der documenta 13 zu den international viel beachteten Künstlern seiner Generation. Er erforscht die Auswirkungen der kulturellen Hegemonie des Westens auf nicht-westliche Kulturen vor dem Hintergrund unserer globalisierten Gegenwart. Zentral ist dabei das Konzept der „Reparatur“, das er seit vielen Jahren erforscht. Der Talk findet im Rahmen seiner umfassenden Einzelausstellung Sacrifice and Harmony im MMK statt.

Im Gespräch mit:
Gerhard Kubik ist ein österreichischer Musikethnologe und Ethnologe. In seiner Forschung widmet er sich insbesondere der Musik, dem Tanz, dem Totemismus, der oralen Tradition und kulturellen Erziehung in Afrika und in afrikanisch beeinflussten Kulturen Venezuelas und Brasiliens. Kubik zählt zu den international renommierten Größen im Bereich intrakultureller afrikanischer Kulturforschung.

MMK Talks 2016: Art & Politics
Bei der sechsten Ausgabe der Veranstaltungsreihe MMK Talks liegt der Schwerpunkt auf der Beziehung zwischen Kunst, Gesellschaft und Politik. Angesichts der tiefgreifenden und existenziellen Veränderungen in Zeiten der globalen Krise sieht sich auch die zeitgenössische Kunst- und Ausstellungspraxis mit neuen Herausforderungen konfrontiert.
Künstler und Ausstellungsmacher sind dazu eingeladen, mit einem Gesprächspartner ihrer Wahl über die Rolle der Kunst in Zeiten gravierender Transformationsprozesse zu sprechen.

Das Gespräch findet in englischer Sprache statt. 

kitchen show #1

Ausstellungseröffnung

kitchen show #1: Viviana Abelson, Amy Ball, Lars Karl Becker, Stefan Cantante, Ella CB, Marcello Spada, Alexander Tillegreen und „WATER COOLER WODKA BAR“ von Franz Hempel

Dienstag, 3. Mai 2016, 20 Uhr, Filmküche

In der Ausstellung kitchen show #1 werden die Werke von sechs Künstler*innen der Städelschule aus den Studios in die Küche gebracht. Viviana Abelson, Amy Ball, Lars Karl Becker, Stefan Cantante, Ella CB und Alexander Tillegreen eignen sich den Alltagsort durch ihre Skulpturen, Fotografien und performativen Interventionen an. Wie beim Kochen spielen neben den visuellen Eindrücken auch Duft und Klang eine Rolle. Die fragile Grenze zwischen Kunst und Alltag wird von den Künstler*innen kommentiert und wie selbstverständlich überschritten. Dem Betrachter offenbart sich die Kunst dabei manchmal erst auf den zweiten Blick.

In der Städelschule in Frankfurt liegen Atelier und Küche nicht nur räumlich nah beieinander. Kochen hat dort eine lange Tradition, seit die Filmküche 1980 für Peter Kubelka im Rahmen seiner Lehrtätigkeit eingerichtet wurde. Initiiert wurde die Ausstellung von Felix Bröcker, Student der Curatorial Studies an der Städelschule und ausgebildeter Koch. Er führte in der Filmküche, bereits in den vergangenen zwei Jahren Veranstaltungen und Kochabende durch. kitchen show #1 ist der Auftakt einer Reihe von Ausstellungen und Performances, die in der Küche statt finden wird.

 

Ausstellungsdauer: 3. Mai – 5. Mai 2016, von 15 – 17 Uhr geöffnet

Gefördert durch die Heinz und Gisela Friederichs Stiftung

Clarie Denis

Vortrag

Clarie Denis

Dienstag, 3. Mai 2016, 19 Uhr, Aula

Claire Denis is a French director, scriptwriter and professor at La Fémis in Paris. Her films address issues of subjectivity and desire, sexual transgression, violence, and post-colonialism from both the perspective of the colonized and the colonizing. Her works have been described as dream-like and enigmatic and she is known for her interest in formal exploration and and experimental style. Films of her include: Chocolat (1988), J’ai pas sommeil (1994), Bon Travail (1990), Trouble Every Day (2001), and White Material (2009). She is currently collaborating on a science-fiction project with writer Zadie Smith. Denis will be discussing her work.

Der Vortrag findet in englischer Sprache statt.

Antek Walczak: ARTISTS’ COLLECTION

Vortrag
Antek Walczak: ARTISTS’ COLLECTION
Mittwoch, 27. April 2016, 19 Uhr, Aula

Compared to a “normal” network based on a few centralized access points, mesh networks connect directly to each other by forming and operating nodes to share and contribute resources without passing through any central authority or centralized organization. As an increasingly popular way to rethink our unilateral dependency on systems governed by top-down regulation and control, meshwork autonomy provides a bottom-up perspective on the social impact of peers (or individuals as users of infrastructure) who self-organize into communities. The barriers to this are numerous, not only in terms of complexity of set up and maintenance, but most immediately in the political and power struggles around confronting an establishment which, whether nefariously or simply because of structural circumstances, seems committed to ideological biases promoting exclusion. Deploying itself on an ad hoc basis, this talk will work through the rationale of art-collecting as a domain exclusive to institutional and financial elites in order to consider community-based network structures that promote democratic access.

Antek Walczak is a New York-based artist. His work spans text-based art, visual poetry, painting, film, information theory and radical politics. He has contributed writing to several art magazines. Walczak was a founding member of Bernadette Corporation.

Der Vortrag findet in englischer Sprache statt.

Shahryar Nashat

Vortrag
Shahryar Nashat
Mittwoch, 20. April 2016, 19 Uhr, Aula

Within his artistic practice, Swiss artist Shahryar Nashat (*1975, lives and works in Berlin) uses means and ways to steer or interrupt the contemplative gaze, thereby directing the focus on the unheeded, the unsolicited. To achieve this, the artist resorts to various media such as video, photography and sculpture. Shahryar Nashat is a guest professor at Städelschule since winter semester 2015.

Der Vortrag findet in englischer Sprache statt.
Am Freitag, 22. April, 20 Uhr, eröffnet im Portikus die Ausstellung Shahryar Nashat: Model Malady.



Ausstellungseröffnung
Shahryar Nashat: Model Malady
Freitag, 22. April 2016, 20 Uhr, Portikus

Ausstellungsdauer: 23. April – 19. Juni 2016

english text

Der Portikus freut sich, die Ausstellung Model Malady des Schweizer Künstlers Shahryar Nashat (*1975, lebt und arbeitet in Berlin) anzukündigen. In seiner Arbeit zielt Nashat darauf ab, den Blick des Betrachters zu lenken oder zu unterbrechen und legt dabei einen Fokus auf das Unbeachtete oder Ungebetene. Dabei bedient sich der Künstler unterschiedlicher Medien wie Video, Fotografie und Skulptur.

Seine Ausstellung Model Malady im Portikus präsentiert zwei neue Werke: Present Sore (2016) und Chômage Technique (2016).

Die Videoarbeit Present Sore kann als fragmentiertes Portrait eines Körpers des 21. Jahrhunderts gelesen werden, welcher durch organische und künstliche Substanzen vermittelt wird. Entstanden für den Portikus und das Walker Art Center in Minneapolis, wird die Arbeit für kurze Zeit auf dem Walker Online Kanal gezeigt, um nun als Installation in Frankfurt präsentiert zu werden. In Present Sore wird der menschliche Körper nicht als Ganzes, sondern nur im Detail dargestellt, zum Beispiel durch eine Nahaufnahme des Knies oder der Hand. Der Fokus liegt auf diesen Fragmenten, die als sich mechanisch bewegende „Teile“ des Körpers gezeigt und so auf ihre Funktion als Werkzeuge reduziert werden.

Chômage Technique ist eine neue Skulpturengruppe, die Nashat für den Portikus und seine kommende Ausstellung im Walker Art Center geschaffen hat. Sie besteht aus Sockeln, die auf speziell für sie gestalteten Metallstrukturen „relaxen“, so der Künstler. Ihrer Funktion enthoben, müssen diese nun obsoleten Objekte keine Kunstwerke oder Körper mehr tragen. Auf diese Weise symbolisieren die Sockel freigestellte Arbeiter, die in der ersten Reihe sitzen und sich entspannen, während sie in Present Sore eine digitale Beschreibung jener Körper sehen, die sie früher hätten tragen müssen.

Die Ausstellung wird unterstützt von Pro Helvetia, Schweizer Kulturstiftung. 

Lucy McKenzie

Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age

Sommersemester 2016:

Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
Julia Gelshorn (12. Juli)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?


Vortrag
Lucy McKenzie: Civilised Woman: skill, image and agency in the 1920s and the present.
Dienstag, 12. April 2016, 19 Uhr, Aula

Lucy McKenzie is a Scottish-born, Belgium-based artist, whose work could formally be described as collaborative and interdisciplinary. Crudely formulated, the artist is interested in how to learn, un-learn and extend structures. Recurring undercurrents in McKenzie's practice can thus be recognized as appropriation, self-appropriation and mastery of craft, manifested through trompe 'oeil paintings, mystery writing, interior and fashion design.
McKenzie (*1977, Glasgow) graduated from Duncan of Jordanstone School of Art & Design in Dundee in 1999. From 2007 to 2008 she studied decorative painting at Van Der Kelen Logelain in Brussels. She formed the interior design company Atelier E.B. with Edinburgh-based designer Beca Lipscombe and illustrator Bernie Reid. Solo shows have been held at the Stedelijk Museum, Amsterdam (2013), the Museum of Modern Art, New York (2008) and the Van Abbemuseum, Eindhoven (2004). McKenzie was a guest professor at the Düsseldorf Kunstakademie in 2011–13.

Der Vortrag findet in englischer Sprache statt.