Vortrag
Dr. Bonaventure Soh Bejeng Ndikung: The Dog Done Gone Deaf
Exploring The Sonic Cosmologies of Halim El-Dabh
Donnerstag, 2. November 2017, 19 Uhr, Aula
This lecture takes its cue from the 2007 eponymous album The Dog Done Gone Deaf by composer, musicologist, educator, sound artist and panafricanist Halim El-Dabh. El-Dabh’s electronic music, music for chamber, percussion ensembles, orchestra, concerto, wind ensemble, choral music, dramatic music and film music stand out as some of the most daring and innovative of the 20th century. This lecture will offer a possibility of a counter narration and a re-configuration of a genealogy of sound art history, albeit from within. The Dog Done Gone Deaf will be an effort to lay bear El-Dabh’s musical dexterity, the sophistication and complexity of his artistic oeuvre – which integrates allegories, myths and pluriversal cosmogonies – that spanned a period of seventy years.
It is true that since an excerpt of his 1944 composition The Expression of Zār was released under the title Wire Recorder Piece on CD in 2000, El-Dabh has been celebrated in art music circles as one of the first composers to use the techniques that Pierre Schaeffer was later to use in 1948, thereby giving birth to musique concrète. But it is also true that El-Dabh’s practice can and should not be reduced to references of the Western canon (although he played with/for Alan Hovhaness, Henry Cowell, John Cage or Martha Graham amongst others), as his musical philosophies lie deeply rooted in African, Afrodiasporic and Arabic musical traditions, and his compositions and experimentations surpass the framework of musique concrète.
The lecture will be an effort to put a spotlight on a forgotten forerunner of Sound art, an imperative figure in what one might call an Afrosonic art practice, and reflect on and disseminate El-Dabh’s aural epistemologies.
Bonaventure Ndikung is guest professor of Curatorial Studies this forthcoming semester at the Städelschule.
Bonaventure Soh Bejeng Ndikung, PhD is an independent art curator and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art.
He was curator-at-large for Documenta 14, and is a guest curator of the 2018 Dak'Art Biennale in Senegal. Recent curatorial projects include Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17; Unlearning the Given: Exercises in Demodernity and Decoloniality, SAVVY Contemporary, 2016; The Incantation of the Disquieting Muse, SAVVY Contemporary, 2016.
Der Vortrag findet in englischer Sprache statt.
Freitag, 27. Oktober 2017
Mittwoch, 25. Oktober 2017
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Vortrag Curatorial Studies
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Elena Filipovic will be speaking on her recent book, The Apparently Marginal Activites of Marcel Duchamp. The book tells a new story of the twentieth century’s most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp’s art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework.
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp
Mittwoch, 8. November 2017, 19 Uhr, Aula
Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk. She has curated numerous solo exhibitions of emerging artists, including Petrit Halilaj, Ygnve Holen, Anne Imhof, Leigh Ledare, Andra Ursuta, and Anicka Yi in addition to organizing several traveling retrospectives, from Marcel Duchamp and Alina Szapocznikow to Mark Leckey and Anne Teresa De Keersmaeker. She is author of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). Recently, she edited The Artist as Curator: An Anthology (Mousse Publications, 2017) and Felix Gonzalez-Torres: Specific Objects Without Specific Form (Konig Books, 2016).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 19. Oktober 2017
Keller Easterling: Medium Design
Vortrag
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula
A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.
In medium design, the logics and rules for addressing problems are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.
Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.
Medium design is ever present in many disciplines. It learns from the work of Harold Innis as well as Marshall McLuhan when it gets related to mass communication. But it can also be akin to the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is thus related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. Medium design is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. Lending from J.J. Gibson, one could say that there is a sense of the affordances of things at play. Or from Gregory Bateson: a sense of temperament in the interplay of things.
At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.
Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.
Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.
Der Vortrag findet in englischer Sprache statt.
Montag, 9. Oktober 2017
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Kollektion
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle
Dauer: 10.10.-14.10.2017
DI–FR ca. 11h – 18h
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
SA ca. 11h – 16h
Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main
Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.
Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)
Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)
English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx
Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.
Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.
Eintritt frei.
Montag, 14. August 2017
Portikus XXX Summer Screenings: Non-work
Filmvorführung
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel
The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
The Portikus XXX summer screenings are programmed by Levi Easterbrooks.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 17. Juli 2017
Portikus XXX – 30 Jahre Portikus: Anne Speier
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Anne Speier
Portikus XXX – 30 Jahre Portikus: Anne Speier
Donnerstag, 20. Juli 2017, 17 Uhr, Hotel Fleming’s Selection, Eschenheimer Tor 2
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.
In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.
The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.
Eintritt frei.
Sonntag, 16. Juli 2017
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus
Portikus is turning thirty. Founded as a small art space on Schöne Aussicht in 1987, we moved from there to the Leinwandhaus and then to the Maininsel. Portikus XXX is the name of our anniversary project that doesn’t look back, but simply keeps moving ahead, not inside Portikus itself, but in the city so important to us: Frankfurt am Main. We leave our space and, with small gestures and major interventions, present new works in urban places that shape the cityscape. In this way, Portikus XXX addresses a broad audience while, at the same time, we continue to do what we’ve been doing in recent years: making exhibitions that stimulate, expand perspectives and ask questions.
Over the course of the summer, Portikus will in collaboration with various internationally renowned artists intervene in the public space of Frankfurt am Main. The inaugurate opening is pleased to have worked with Shannon Bool in the Dom as well the fiction class led by Marc von Schlegell. Further openings are to be announced soon.
Double Opening, 18th of July
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx
Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main
Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx
Eintritt Frei.
Portikus XXX: Summer screenings
Filmvorführung
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel
Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats
What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.
In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.
Wednesday the 19th of July will be the first of a series of screenings at Portikus.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.
Veranstaltung findet in englischer Sprache statt.
Eintritt frei.
Eintritt frei.
Montag, 10. Juli 2017
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Vortrag
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Dienstag, 11. Juli 2017, 19 Uhr, Aula
Susanne Kriemann, born 1972 in Erlangen, Germany, is an artist living and working in Berlin. She is professor for artistic photography at University of Design in Karlsruhe and a long-term advisor at the Jan Van Eyck Academy in Maastricht (NL), where she continues her on-going exploration of research and artist practice. Together with Aleksander Komarov, she founded the artist initiative AIR Berlin Alexanderplatz (www.airberlinalexanderplatz.de). The works of Susanne Kriemann are represented by Galerie Wilfried Lentz, Rotterdam and Galerie RaebervonStenglin, Zürich (2009-2016). Kriemann also publishes artist books, that are testaments to her overarching concern with historiography—how history is written, read, and rewritten—and the connections that can be found between art, literature, and archaeology.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 28. Juni 2017
Stephan Dillemuth: Corporate Rokoko
Vortrag
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Corporate Rokoko is a concept that was coined in the last years of the 20th century by Werner von Delmont to describe an aesthetic representation program that induced hallucination into dominating and powerful corporations.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula
Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.
Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).
Der Vortrag findet in englischer Sprache statt.
New Noveta: Angst und Arbeit
Vortrag
New Noveta: Angst und Arbeit
Dienstag, 4. Juli 2017, 19 Uhr, Aula
New Noveta is the collaborative project of Ellen Freed and Keira Fox, both based in London.
They most recently performed as part of the performance program at Liste, Rehearsing Intra-Activity, curated by Eva Birkenstock. In February this year they had a solo show and performance 'Violent Amurg' at Ludlow38, New York, and performed and exhibited as part of the show Site Visit at Kunstverein Freiburg, Germany. Amongst other places, they performed at Serralves Foundation in Porto as part of the program O Museu Como Performance (2015), Good Forever in Düsseldorf (2016), the Annual Bipolar Performers Meeting in Sopot, Poland (2017), and at Forde in Geneva (2016).
This lecture will be an overview of their processes and projects so far, displaying and discussing works spanning New Noveta's six year collaboration.
"Emotionally intense as they are, the sense of invasiveness to New Noveta’s works in fact heightens the schism between performer and audience. But to consider the group confrontational would be to mischaracterize a project intent on reproaching attitudes that otherwise pathologize ‘difference as illness’. For Fox and Freed, these procedures of normalization and diagnosis are endemic within high-pressure society, and New Noveta seeks to confront how public displays of anxiety, both symptom and vessel of control, are often perceived negatively" Saim Demicran.
New Noveta: Angst und Arbeit
Dienstag, 4. Juli 2017, 19 Uhr, Aula
New Noveta is the collaborative project of Ellen Freed and Keira Fox, both based in London.
They most recently performed as part of the performance program at Liste, Rehearsing Intra-Activity, curated by Eva Birkenstock. In February this year they had a solo show and performance 'Violent Amurg' at Ludlow38, New York, and performed and exhibited as part of the show Site Visit at Kunstverein Freiburg, Germany. Amongst other places, they performed at Serralves Foundation in Porto as part of the program O Museu Como Performance (2015), Good Forever in Düsseldorf (2016), the Annual Bipolar Performers Meeting in Sopot, Poland (2017), and at Forde in Geneva (2016).
This lecture will be an overview of their processes and projects so far, displaying and discussing works spanning New Noveta's six year collaboration.
"Emotionally intense as they are, the sense of invasiveness to New Noveta’s works in fact heightens the schism between performer and audience. But to consider the group confrontational would be to mischaracterize a project intent on reproaching attitudes that otherwise pathologize ‘difference as illness’. For Fox and Freed, these procedures of normalization and diagnosis are endemic within high-pressure society, and New Noveta seeks to confront how public displays of anxiety, both symptom and vessel of control, are often perceived negatively" Saim Demicran.
Der Vortrag findet in englischer Sprache statt.
Montag, 26. Juni 2017
Josephine Pryde: We Do The Rest
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Josephine Pryde: We Do The Rest
Mittwoch, 28. Juni 2017, 19 Uhr, Aula
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?
A short talk on a time-based medium - Josephine Pryde will discuss her artwork in connection to skills she may have acquired, or otherwise, while using a camera.
Pryde was born in the United Kingdom, studied in London and was appointed Professor for 'Zeitgenössische Kunst und Fotografie' at the University of the Arts, Berlin, in 2008. Her most recent exhibition was 'Traces of Accessibility' in collaboration with Marilyn Thompson, in April 2017 at Goton, Paris. Since 2014, Pryde has exhibited two different miniature rideable trains, alongside photographs featuring hands, in various configurations, initially in the show 'These Are Just Things I Say, They Are Not My Opinions' at Arnolfini, Bristol in 2014, and then in 'lapses in Thinking By the person i Am' at CCA Wattis, San Francisco and ICA Philadelphia in 2015. Her catalogue 'The Enjoyment of Photography' also appeared in 2015.
Der Vortrag findet in englischer Sprache statt.
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Josephine Pryde: We Do The Rest
Mittwoch, 28. Juni 2017, 19 Uhr, Aula
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?
A short talk on a time-based medium - Josephine Pryde will discuss her artwork in connection to skills she may have acquired, or otherwise, while using a camera.
Pryde was born in the United Kingdom, studied in London and was appointed Professor for 'Zeitgenössische Kunst und Fotografie' at the University of the Arts, Berlin, in 2008. Her most recent exhibition was 'Traces of Accessibility' in collaboration with Marilyn Thompson, in April 2017 at Goton, Paris. Since 2014, Pryde has exhibited two different miniature rideable trains, alongside photographs featuring hands, in various configurations, initially in the show 'These Are Just Things I Say, They Are Not My Opinions' at Arnolfini, Bristol in 2014, and then in 'lapses in Thinking By the person i Am' at CCA Wattis, San Francisco and ICA Philadelphia in 2015. Her catalogue 'The Enjoyment of Photography' also appeared in 2015.
Der Vortrag findet in englischer Sprache statt.
Alex Kitnick: Normal Art
Vortrag
Alex Kitnick: Normal Art
Mittwoch, 5. Juli 2017, 19 Uhr, Aula
In the last few years we have heard a lot about “new normals” (often raised in regards to weather), normativities (typically used in regards to sexuality), and normalization (invoked most often in the sphere of politics). All of these terms are bound to a language of imposition, the setting of new standards to which we are asked to habituate ourselves, but the terms also have different valences and histories, which are worth pulling apart….
This talk will trace a history for the idea of normal art. Starting with Lucy Lippard’s 1968 declaration that conceptual art was part of a “trend back to ‘normalcy,’” the talk will consider the potential of conventional modes of practice for artistic production, especially in relation to theories that have depicted significant art as “cutting edge” and “avant-garde.” But in focusing on conceptualism, which posed a direct threat to many traditional ideas of the art object and its value, we will also see that the normal often resides in the places we least expect. The work of the Canadian collective General Idea (1969-1994) will serve as a case study for how a normal art might function in relation to wider cultural and political tendencies.
Alex Kitnick is Brant Foundation Fellow in Contemporary Arts at Bard College. He has contributed to publications including Artforum, May, October, and Texte zur Kunst.
Der Vortrag findet in englischer Sprache statt.
Alex Kitnick: Normal Art
Mittwoch, 5. Juli 2017, 19 Uhr, Aula
In the last few years we have heard a lot about “new normals” (often raised in regards to weather), normativities (typically used in regards to sexuality), and normalization (invoked most often in the sphere of politics). All of these terms are bound to a language of imposition, the setting of new standards to which we are asked to habituate ourselves, but the terms also have different valences and histories, which are worth pulling apart….
This talk will trace a history for the idea of normal art. Starting with Lucy Lippard’s 1968 declaration that conceptual art was part of a “trend back to ‘normalcy,’” the talk will consider the potential of conventional modes of practice for artistic production, especially in relation to theories that have depicted significant art as “cutting edge” and “avant-garde.” But in focusing on conceptualism, which posed a direct threat to many traditional ideas of the art object and its value, we will also see that the normal often resides in the places we least expect. The work of the Canadian collective General Idea (1969-1994) will serve as a case study for how a normal art might function in relation to wider cultural and political tendencies.
Alex Kitnick is Brant Foundation Fellow in Contemporary Arts at Bard College. He has contributed to publications including Artforum, May, October, and Texte zur Kunst.
Der Vortrag findet in englischer Sprache statt.
Liam Young: Hello, City!
Vortrag Architektur Klasse
Liam Young: Hello, City
Freitag, 30 Juni 2017, 19 Uhr, Aula
Digital technologies are radically reshaping our perception and occupation of cities. Join speculative architect Liam Young and an all-seeing smart city operating system as they take a tour in a driverless taxi through a network of software systems, autonomous infrastructures, ghost architectures, anomalies, glitches, and sprites, searching for the wilds beyond the machine.
The talk will be an audio-visual expedition to a city found somewhere between the present and the predicted, the real and the imagined, stitched together from fragments of real landscapes and designed urban fictions.
Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today, an urban futures think tank, exploring the local and global implications of new technologies and Unknown Fields, a nomadic research studio that travels on expeditions to chronicle these emerging conditions as they occur on the ground. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is producer of a BAFTA nominated film and his work has been collected by institutions such as the Metropolitan Museum of Art and the Victoria and Albert Museum. He has taught internationally at the Architectural Association, Princeton University and now runs an MA in Fiction and Entertainment at SciArc. Liam's narrative approach sits between documentary and fiction as he focuses on projects that aim to reveal the invisible connections and systems that make the modern world work.
Liam Young is also going to be part of a conversation on VIRTUAL REALITY – SUBJECT, IMAGE, SPACE hosted by SAC at the NODE17 festival on July 1, 2017 from 11:30 - 17:30.
The conversation will address the role of VR for artistic and architectural practice and Liam Young will contribute to the discussion based on his ground-breaking experimentation with new technologies as cinematic tools for a narrative approach to architecture.
For more information: nodeforum.org
Liam Young: Hello, City
Freitag, 30 Juni 2017, 19 Uhr, Aula
The talk will be an audio-visual expedition to a city found somewhere between the present and the predicted, the real and the imagined, stitched together from fragments of real landscapes and designed urban fictions.
Liam Young is a speculative architect who operates in the spaces between design, fiction and futures. He is cofounder of Tomorrows Thoughts Today, an urban futures think tank, exploring the local and global implications of new technologies and Unknown Fields, a nomadic research studio that travels on expeditions to chronicle these emerging conditions as they occur on the ground. He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Guardian, Time, and Dazed and Confused, is producer of a BAFTA nominated film and his work has been collected by institutions such as the Metropolitan Museum of Art and the Victoria and Albert Museum. He has taught internationally at the Architectural Association, Princeton University and now runs an MA in Fiction and Entertainment at SciArc. Liam's narrative approach sits between documentary and fiction as he focuses on projects that aim to reveal the invisible connections and systems that make the modern world work.
Liam Young is also going to be part of a conversation on VIRTUAL REALITY – SUBJECT, IMAGE, SPACE hosted by SAC at the NODE17 festival on July 1, 2017 from 11:30 - 17:30.
The conversation will address the role of VR for artistic and architectural practice and Liam Young will contribute to the discussion based on his ground-breaking experimentation with new technologies as cinematic tools for a narrative approach to architecture.
For more information: nodeforum.org
Der Vortrag findet in englischer Sprache statt.
Sonntag, 25. Juni 2017
Farshid Moussavi: Working With Time
Architektur Klasse - Dean’s Honorary Lecture
Farshid Moussavi: Working With Time
The Rektor of Städelschule, Professor Philippe Pirotte, and the Städelschule Architecture Class are proud to announce this year’s Dean’s Honorary Lecturer: Farshid Moussavi.
Farshid Moussavi RA is an architect, principal of Farshid Moussavi Architecture (FMA) and Professor in Practice of Architecture at Harvard University Graduate School of Design. At FMA, Moussavi has completed her first USA commission, the Museum of Contemporary Art in Cleveland, the flagship store for Victoria Beckham in London, and an installation at the 13th Architecture Biennale in Venice (2012). Moussavi is currently working on a wide range of prestigious projects including a residential complex in the La Défense district of Paris (under construction), a residential complex in Montpellier, as well as an office complex in the City of London.
Moussavi was previously co-founder of the London-based Foreign Office Architects (FOA), where she co-authored many award-winning projects including the Yokohama International Cruise Terminal and the Spanish Pavilion at the Aichi International Expo in Japan. FOA was also part of the team that designed the Olympic Park and its legacy vision for the Lee Valley as part of the London bid to the International Design Committee.
Educated at Harvard’s Graduate School of Design, University College London and Dundee University, Moussavi has taught and served as External Examiner in academic institutions worldwide. She was a member of the Steering Committee of the Aga Khan Award for Architecture between 2004 and 2015 and has been a trustee of the London Architecture Foundation and the Whitechapel Gallery in London since 2009. She was elected a Royal Academician in 2015 and has published three books, The Function of Ornament, The Function of Forms, and the Function of Style, based on her research and teaching at Harvard.
The Dean’s Honorary Lecture was introduced in 2006 as a celebration of architecture at the Städelschule Architecture Class’ annual end of year review of student work. The series seeks to honour a person whose contribution to the architectural discipline has been seminal in professional, academic and/or institutional terms. Since its introduction, the annual lecture has been given by: Mark Wigley (2006), Mohsen Mostafavi (2007), Greg Lynn (2008), Brett Steele (2009), Jeffrey Kipnis (2010), Sanford Kwinter (2011), Alejandro Zaera-Polo (2012), Beatriz Colomina (2013), Elizabeth Diller (2014), Benedetta Tagliabue (2015), and Bernard Tschumi (2016).
This year, the Dean’s Honorary Lecture is part of the celebration of the Städelschule’s 200-year jubilee: http://www.staedelschule.de/programm.html
Der Vortrag findet in englischer Sprache statt.
**The Dean’s Honorary Lecture by Sir Peter Cook is unfortunately cancelled. Instead, Farshid Moussavi will give this year’s honorary lecture.**
**Leider fällt der Vortrag in der Reihe Dean’s Honorary Lecture von Sir Peter Cook aus. Stattdessen wird Farshid Moussavi den Ehrenvortrag halten.**
Farshid Moussavi: Working With Time
Donnerstag, 13. Juli 2017, 19 Uhr, Aula
Farshid Moussavi RA is an architect, principal of Farshid Moussavi Architecture (FMA) and Professor in Practice of Architecture at Harvard University Graduate School of Design. At FMA, Moussavi has completed her first USA commission, the Museum of Contemporary Art in Cleveland, the flagship store for Victoria Beckham in London, and an installation at the 13th Architecture Biennale in Venice (2012). Moussavi is currently working on a wide range of prestigious projects including a residential complex in the La Défense district of Paris (under construction), a residential complex in Montpellier, as well as an office complex in the City of London.
Moussavi was previously co-founder of the London-based Foreign Office Architects (FOA), where she co-authored many award-winning projects including the Yokohama International Cruise Terminal and the Spanish Pavilion at the Aichi International Expo in Japan. FOA was also part of the team that designed the Olympic Park and its legacy vision for the Lee Valley as part of the London bid to the International Design Committee.
Educated at Harvard’s Graduate School of Design, University College London and Dundee University, Moussavi has taught and served as External Examiner in academic institutions worldwide. She was a member of the Steering Committee of the Aga Khan Award for Architecture between 2004 and 2015 and has been a trustee of the London Architecture Foundation and the Whitechapel Gallery in London since 2009. She was elected a Royal Academician in 2015 and has published three books, The Function of Ornament, The Function of Forms, and the Function of Style, based on her research and teaching at Harvard.
The Dean’s Honorary Lecture was introduced in 2006 as a celebration of architecture at the Städelschule Architecture Class’ annual end of year review of student work. The series seeks to honour a person whose contribution to the architectural discipline has been seminal in professional, academic and/or institutional terms. Since its introduction, the annual lecture has been given by: Mark Wigley (2006), Mohsen Mostafavi (2007), Greg Lynn (2008), Brett Steele (2009), Jeffrey Kipnis (2010), Sanford Kwinter (2011), Alejandro Zaera-Polo (2012), Beatriz Colomina (2013), Elizabeth Diller (2014), Benedetta Tagliabue (2015), and Bernard Tschumi (2016).
This year, the Dean’s Honorary Lecture is part of the celebration of the Städelschule’s 200-year jubilee: http://www.staedelschule.de/programm.html
Der Vortrag findet in englischer Sprache statt.
**The Dean’s Honorary Lecture by Sir Peter Cook is unfortunately cancelled. Instead, Farshid Moussavi will give this year’s honorary lecture.**
**Leider fällt der Vortrag in der Reihe Dean’s Honorary Lecture von Sir Peter Cook aus. Stattdessen wird Farshid Moussavi den Ehrenvortrag halten.**
Sonntag, 18. Juni 2017
Daniel Birnbaum
Vortrag
Daniel Birnbaum: Too Early, Too Late: Freud, Duchamp, af Klint
Dienstag, 20. Juni 2017, 19 Uhr, Aula
Late Arrivals. A certain kind of delay seems to be part of Hilma af Klint’s art, something she planned meticulously. She limited her exchange to a tight group of clairvoyants hiding in a studio far up in northern Europe and wrote a testament that produced further deferments. In other words, her version abstraction had no public exchange. Her art if one of late arrivals.
Compare this to another master of delays: it has been argued that we can properly understand the ‘Duchamp effect’ only in terms of the temporality of trauma. Avant-garde art, and not only that of Duchamp – the creator of a legendary ’delay in glass’ – was never historically effective or fully significant in its initial incarnation, because it constituted a traumatic break with the past and, as trauma, can be comprehended only through repetition and delay. Freud described this temporal phenomenon as “deferred action.” The traumatic event is never perceived as present, as something happening right now, but registered only after the fact, according to a rule of necessary delay.
We all know that the temporality of art isn’t linear but characterized by precisely these sorts of repetitions and syncopations, detours, and delays. Sometimes they real revolutions in art remain invisible until they are long over, and the subterranean shock waves can travel for generations.
Daniel Birnbaum is the director of Moderna Museet, Stockholm and Professor of Philosophy at the Städelschule which he was directing from 2000–2010.
Der Vortrag findet in englischer Sprache statt.
Daniel Birnbaum: Too Early, Too Late: Freud, Duchamp, af Klint
Dienstag, 20. Juni 2017, 19 Uhr, Aula
Late Arrivals. A certain kind of delay seems to be part of Hilma af Klint’s art, something she planned meticulously. She limited her exchange to a tight group of clairvoyants hiding in a studio far up in northern Europe and wrote a testament that produced further deferments. In other words, her version abstraction had no public exchange. Her art if one of late arrivals.
Compare this to another master of delays: it has been argued that we can properly understand the ‘Duchamp effect’ only in terms of the temporality of trauma. Avant-garde art, and not only that of Duchamp – the creator of a legendary ’delay in glass’ – was never historically effective or fully significant in its initial incarnation, because it constituted a traumatic break with the past and, as trauma, can be comprehended only through repetition and delay. Freud described this temporal phenomenon as “deferred action.” The traumatic event is never perceived as present, as something happening right now, but registered only after the fact, according to a rule of necessary delay.
We all know that the temporality of art isn’t linear but characterized by precisely these sorts of repetitions and syncopations, detours, and delays. Sometimes they real revolutions in art remain invisible until they are long over, and the subterranean shock waves can travel for generations.
Daniel Birnbaum is the director of Moderna Museet, Stockholm and Professor of Philosophy at the Städelschule which he was directing from 2000–2010.
Der Vortrag findet in englischer Sprache statt.
Michael Dean
Vortrag
Michael Dean
Donnerstag, 22. Juni 2017, 19 Uhr, Aula
Ausstellungseröffnung
Michael Dean: Teaxths and Angeruage
Freitag, 30. Juni 2017, 19h, Portikus
Alongside his work in sculpture, a core element of Michael Dean’s production is his work in text. Each of the British artist’s sculptures evolve from intimate and observational texts that accompany and typographically envelop the sculpture and regularly assume a live dimension. Thick books of writings are found among the sculptures in his exhibitions, their texts partly representing the starting point of his work and partly inviting interrogation of the sculpture within something of a vocabularic, suggestive mechanism or framework.
In his lecture at Städelschule Michael Dean will talk about his work as well as his latest installation as part of Skulptur Projekte Münster and his upcoming exhibition at Portikus, titled Teaxths and Angeruage.
Der Vortrag findet in englischer Sprache statt.
Michael Dean
Donnerstag, 22. Juni 2017, 19 Uhr, Aula
Ausstellungseröffnung
Michael Dean: Teaxths and Angeruage
Freitag, 30. Juni 2017, 19h, Portikus
Alongside his work in sculpture, a core element of Michael Dean’s production is his work in text. Each of the British artist’s sculptures evolve from intimate and observational texts that accompany and typographically envelop the sculpture and regularly assume a live dimension. Thick books of writings are found among the sculptures in his exhibitions, their texts partly representing the starting point of his work and partly inviting interrogation of the sculpture within something of a vocabularic, suggestive mechanism or framework.
In his lecture at Städelschule Michael Dean will talk about his work as well as his latest installation as part of Skulptur Projekte Münster and his upcoming exhibition at Portikus, titled Teaxths and Angeruage.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 13. Juni 2017
Laurence Rickels: All You Vampires
Vortrag
Laurence Rickels: All You Vampires
Mittwoch, 21. Juni 2017, 19 Uhr, Aula
The contest at the start of the new millennium between identification with the undead and thrill-a-kill consumerism of the living dead separates out the science fiction of a vampirism epidemic in Richard Matheson’s I Am Legend. The application of science fiction in the US reception of modern vampirism, which was largely introduced through Browning’s Dracula, contributed to the rise of the modern movie zombie out of the massification of undeath. Along the track of sole survival, the last human and the vampire are conjoined in mourning.
Gotthard Günther pursued a metaphysics of science fiction according to which the new world was the staging area, in preparation since the age of discovery, for a civilization that would be planetary going on interplanetary. According to Günther, both the zombie and, interchangeably, the mechanical brain signal a new American way of death that cuts loose from the metaphysics of the regional civilizations (last seen in Europe). In rehearsal since Hamlet the intergalactic civilization to come must carry forward to the final frontier of living death mourning’s secular import, which counts down between first and second deaths.
Laurence Rickels: All You Vampires
Mittwoch, 21. Juni 2017, 19 Uhr, Aula
The contest at the start of the new millennium between identification with the undead and thrill-a-kill consumerism of the living dead separates out the science fiction of a vampirism epidemic in Richard Matheson’s I Am Legend. The application of science fiction in the US reception of modern vampirism, which was largely introduced through Browning’s Dracula, contributed to the rise of the modern movie zombie out of the massification of undeath. Along the track of sole survival, the last human and the vampire are conjoined in mourning.
Gotthard Günther pursued a metaphysics of science fiction according to which the new world was the staging area, in preparation since the age of discovery, for a civilization that would be planetary going on interplanetary. According to Günther, both the zombie and, interchangeably, the mechanical brain signal a new American way of death that cuts loose from the metaphysics of the regional civilizations (last seen in Europe). In rehearsal since Hamlet the intergalactic civilization to come must carry forward to the final frontier of living death mourning’s secular import, which counts down between first and second deaths.
Laurence Arthur Rickels (b. 1954) is a psychotherapist, theorist, and literary scholar, who taught at the University of California, Santa Barbara (German and Comparative Literature) for thirty years. He is the Sigmund Freud professor of philosophy and media at The European Graduate School / EGS and emeritus professor not only at the University of California but also at the Staatliche Akademie der Bildenden Künste Karlsruhe, where he served six years as professor of Kunst und Theorie (Klaus Theweleits successor). Recently he was appointed as the Eberhard Berent Visiting Professor and Distinguished Writer in Residence at New York University for the spring 2018 semester.
Der Vortrag findet in englischer Sprache statt.
Der Vortrag findet in englischer Sprache statt.
Montag, 12. Juni 2017
Johan Bettum: Grammar of the Ineffable. The Subject
Vortrag Architektur Klasse
Johan Bettum: Grammar of the Ineffable. The Subject
Mittwoch, 14. Juni 2017, 19 Uhr, Aula
The history of architecture appears largely as the history of form: Decorated and non-decorated form, the form of decoration itself, tectonic form - to mention just some of its historical variants. And of recently there has emerged a renewed interest in architectural form predicated by a philosophical enquiry into the status of the object. In extension of so-called “object oriented ontology” or “speculative realism,” architecture entertains an interest in “weird” realism and “strange” objects, which soon also includes “strange” forms.
However, any version of architectural form is only one part of the story; its assumed converse, space, being the other. While contemplating or entering architectural form, we occupy space. Yet, its nature remains as evasive as it was when our contemporary notion of space first emerged in architectural theory at the end of the nineteenth century.
This lecture traces our architectural notion of space back to this origin, in the process contextualising it relative to the problem of form and - indirectly - formalism in architectural design. It positions our idea of space in a copious context, so fully saturated with information and matter that the design space, the space in which we work, is full to overflowing with input, opportunities but also responsibilities. This saturated space is at once both a material and immaterial phenomenon.
The lecture pursues - perhaps in vain - a hidden structure underlying our experience of spatial constructs. It does so by briefly discussing three art works and a few architectural projects to suggest that architecture may be understood in a choreographic sense. That is, by spatially situating a double subject - that is, the architect designer as well as the experiencing subject - relative to architectural form, architecture emerges as, to paraphrase the dancer and choreographer William Forsythe, ‘a choreographic object.’ In consequence, aiming to loosely define a spatial paradigm based on the notion of choreography in saturated space, the subject appears compelled to move and be moved in space, as if caught in a dense meshwork of information and matter, of input and output.
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class.
Johan Bettum: Grammar of the Ineffable. The Subject
Mittwoch, 14. Juni 2017, 19 Uhr, Aula
The history of architecture appears largely as the history of form: Decorated and non-decorated form, the form of decoration itself, tectonic form - to mention just some of its historical variants. And of recently there has emerged a renewed interest in architectural form predicated by a philosophical enquiry into the status of the object. In extension of so-called “object oriented ontology” or “speculative realism,” architecture entertains an interest in “weird” realism and “strange” objects, which soon also includes “strange” forms.
However, any version of architectural form is only one part of the story; its assumed converse, space, being the other. While contemplating or entering architectural form, we occupy space. Yet, its nature remains as evasive as it was when our contemporary notion of space first emerged in architectural theory at the end of the nineteenth century.
This lecture traces our architectural notion of space back to this origin, in the process contextualising it relative to the problem of form and - indirectly - formalism in architectural design. It positions our idea of space in a copious context, so fully saturated with information and matter that the design space, the space in which we work, is full to overflowing with input, opportunities but also responsibilities. This saturated space is at once both a material and immaterial phenomenon.
The lecture pursues - perhaps in vain - a hidden structure underlying our experience of spatial constructs. It does so by briefly discussing three art works and a few architectural projects to suggest that architecture may be understood in a choreographic sense. That is, by spatially situating a double subject - that is, the architect designer as well as the experiencing subject - relative to architectural form, architecture emerges as, to paraphrase the dancer and choreographer William Forsythe, ‘a choreographic object.’ In consequence, aiming to loosely define a spatial paradigm based on the notion of choreography in saturated space, the subject appears compelled to move and be moved in space, as if caught in a dense meshwork of information and matter, of input and output.
Johan Bettum is a professor of architecture and the program director of the Städelschule Architecture Class.
Vortrag findet in englischer Sprache
Donnerstag, 8. Juni 2017
Albert Oehlen: Dr Ö and the three million ???
Ringvorlesung Institut für Kunstkritik:
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Albert Oehlen: Dr Ö and the three million ???
Montag, 12. Juni 2017, 19 Uhr, Aula
The lecture takes place within the frame work of the lectures-series, which is conceptualized by Isabelle Graw and 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.
Do it yourself. Deskilling and Reskilling in the Digital Techno Age
Albert Oehlen: Dr Ö and the three million ???
Montag, 12. Juni 2017, 19 Uhr, Aula
The lecture takes place within the frame work of the lectures-series, which is conceptualized by Isabelle Graw and 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.
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