relational lockout - music as social space
Thursday, 15. July
Opening: 18:30
Begin of panel discussion: 19:00
concert: ca. 21:00
Avantgarde and youth culture: radical action or market differentiation?
Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
Noise, drone, improv – are these newly invigorated musical strategies a sign of the formation of a youth culture again fundamentally disapproving the commodity rationale or is it more a postmodern playful and romantic manipulation of signs, forms and channels of commoditized culture and past media types?
Martin Büsser co-founded the Ventil-Verlag publishing house as well as the book series "Testcard - Beiträge zur Popgeschichte" (Testcard - contributions to pop history). He has written many books on pop history and pop theory.
Michael Wertmüller is a sought-after composer whose works are being performed at big festivals for New Music. He also plays Free Jazz with people like Peter Brötzmann. Thomas Mahmoud celebrated successes with his band von spar. Together with Wertmüller and Marino Pliakas he founded the avantgarde-band Ives#1. Stefan Tcherepnin is a composer and musician. He works amongst other with Ei Arakawa and Merlin Carpenter. Szepanski published "Soundcultures" and founded Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki have founded the relational micro-nexus KACHELTISCH and organize the event.
concert: Thomas Mahomoud and Michael Wertmüller; Blake Fuchs
Friday, 16. July
Begin of panel discussion: 19:00
concert: ca. 21:00
Improvisation: plays, rules, technologies and communication
Institut für Feinmotorik
Felix Klopotek
Improvisation is a way of creating/demolishing rules and communication structures within the process of instant composing. How do technologies (new/abused interfaces, new/abused audio generators), spaces and personal relations to the other musicians take affect?
The Institut für Feinmotorik researches with its Octogrammoticum the improvisation with record players since the mid 1990s. On their tours they have played in the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe and Goethe-Institut in Buenos Aires. Felix Klopotek writes for Jazzthetik, Spex and Testcard; in 2002 he published the book „How they do it. Freejazz, Improvisation und Niemandsmusik“. He operates the label Grob producing the currently most important improvisational music.
concert: Institut für Feinmotorik
Saturday, 17. July
Begin of panel discussion: 19:00
concert: ca. 21:00
Leisure, fun and power play: the history of music – from sacred to commodity?
Achim Wollscheid
Lars Becker, Peter Pawlicki
Thomas Mahmoud
The use of music openly as an instrument in (micro-)politics of power has apparently changed to more subtle forms of music as a way to dampen social frictions. Although this does not exclude the possibility of transgression of the commodity rationale it makes the boundaries to be crossed less visible.
Achim Wollscheid is media artist, focusing in his works with sound, light and space and their interfaces
concert: Achim Wollscheid; Workshop band
__________________________________________________________________________________________________________________
relational lockout - Musik als sozialer Raum
Donnerstag, 15. Juli
Eröffnung: 18:30 Uhr
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Avantgarde und Jugendkultur: Radikale Aktion oder Marktdifferenzierung?
Martin Büsser
Michael Wertmüller
Thomas Mahmoud
Achim Szepanski
Stefan Tcherepnin
Lars Becker
Peter Pawlicki
Anne Imhof
Noise, Drone, Improv – sind diese teils neuerdings wiederbelebten teil- weiterentwickelten musikalischen Strategien ein Zeichen für die Formation einer Jugendkultur, die wieder fundamental die Warengesellschaft ablehnt, oder ist es eher eine postmoderne, spielerisch-romantische Manipulation von Zeichen, Formen und Kanälen der kommodifizierten Kultur und vergangener Medienformate?
Martin Büsser ist Mitbegründer des Ventil-Verlages und der Buchreihe "Testcard - Beiträge zur Popgeschichte". Zahlreiche Bücher zur Popgeschichte und Poptheorie wurden von ihm verfasst. Der klassisch ausgebildete multiinstrumentalist Michael Wertmüller ist ein gefragter Komponist, dessen Werke auf großen Festivals der Neuen Musik aufgeführt werden. Daneben spielt er Free Jazz mit so illustren Persönlichkeiten wie Peter Brötzmann. Thomas Mahmoud feierte Erfolge als Sänger mit seiner Band Von Spar. Zusammen mit Wertmüller und Marino Pliakas gründete er die Avantgarde-Band Ives#1. Stefan Tcherepnin ist Komponist und Musiker. Er Arbeitet unteranderem mit Ei Arakawa und Merlin Carpenter zusammen. Szepanski ist Herausgeber von "Soundcultures" und Gründer von Force Inc. und Mille Plateaux. Lars Becker und Peter Pawlicki sind Gründer von des relationalen Mikro-Nexus KACHELTISCH und Organisatoren der Veranstaltung.
Konzert: Thomas Mahomoud und Michael Wertmüller; Blake Fuchs
Freitag, 16. Juli
Beginn der Podiumsdiskussion: 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Improvisation: Spiele, Regeln, Technologien und Kommunikation
Institut für Feinmotorik
Felix Klopotek
Improvisation ist eine Möglichkeit, Regeln und Kommunikationsstrukturen im Zuge des ‚instant composing’ zu etablieren und zu zerstören. Welchen Einfluss üben dabei Technologien (neue/missbrauchte Schnittstellen, neue/missbrauchte Audiogeneratoren etc.), Räume und persönliche Beziehungen zwischen den Musikern aus?
Das Institut für Feinmotorik erforscht seit Mitte der 90er Jahre mit seinem Octogrammoticum die Improvisation an Plattenspielern ohne Schallplatten. Auf ihren Tourneen spielten sie u.a. im Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe und im Goethe-Institut in Buenos Aires. Felix Klopotek schreibt für Jazzthetik, Spex und Testcard; 2002 veröffentlichte er Buches „How they do it. Freejazz, Improvisation und Niemandsmusik“. Als Betreiber des Plattenlabels Grob produziert Klopotek die Größen der Improvisationsmusik.
Konzert: Institut für Feinmotorik
Samstag, 17. Juli
Beginn der Podiumsdiskussion 19:00 Uhr
Konzert: ca. 21:00 Uhr
Die Veranstaltung findet in englischer Sprache statt.
Muße, Spaß und Machtspiel: die Geschichte der Musik
Achim Wollscheid
Ted Geier
Lars Becker, Peter Pawlicki
Thomas Mahmoud
Die offene Nutzung der Musik als Instrument (mikro-)politischer Macht wurde scheinbar von subtileren Formen der Musik als einer Möglichkeit, soziale Spannungen zu dämpfen, verdrängt. Obwohl dies die Möglichkeit zur Überwindung der Verwertungslogik nicht ausschließt, macht es doch die zu überschreitenden Grenzen weniger sichtbar.
Achim Wollscheid ist Medienkünstler, der sich in seinen Arbeiten seit 20 Jahren mit Klang, Licht, Raum und deren Schnittstellen beschäftigt.
Ted Gaier ist ein deutscher Musiker, Regisseur und Darsteller. Ted Gaier ist Gründungsmitglied und bis heute Texter, Bassist, Gitarrist und Keyboarder der Goldenen Zitronen, einer Hamburger Band.
Konzert: Achim Wollscheid; Workshopband
Mittwoch, 7. Juli 2010
"THE END-OF-YEAR PROGRAMME"
DIE STÄDELSCHULE ARCHITECTURE CLASS PRÄSENTIERT:
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010
ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN
Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation
Weitere Programmpunkte:
Donnerstag, 08.07. - 18:15
Verleihung des Günter Bock Preises.
Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.
Donnerstag, 08.07. - 18:30
DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS
Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten
Donnerstag, 08.07. - 16:30
Ausstellungseröffnung
THE SYNTHESIS OF NATURE AND ARCHITECTURE PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE
Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.
Die Ausstellung untergliedert sich in drei Teile:
VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.
SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.
OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.
"THE END-OF-YEAR PROGRAMME"
VOM 7 – 9 JULI 2010
ÖFFNUNGSZEITEN DER AUSSTELLUNG
DONNERSTAGS, FREITAGS UND SAMSTAGS, 8-24 JULI 12:00-19:00
IN DER DIAMANTENBÖRSE, STEPHANSTRASSE 1-3, FRANKFURT AM MAIN
Die Städelschule Architecture Class (SAC) präsentiert das END-OF-YEAR PROGRAMM.
Im Rahmen des Projektes THE SYNTHESIS OF NATURE AND ARCHITECTURE, präsentieren die Studierenden von Mittwoch, 7.07 bis Freitag 09.07.2010 die Master Thesis- und Semesterarbeiten in der Diamantenbörse, Stephanstrasse 1-3, Frankfurt.
Die präsentierten Arbeiten werden im Anschluss in den gleichen Räumlichkeiten der interessierten Öffentlichkeit für drei Wochen zugänglich gemacht.
Die Master Thesis Arbeiten sind Entwürfe für das Olympische Media Village - Porto Maravilha in Rio de Janeiro. Die Aufgabe ist der Entwurf eines Gebäudes mit gemischter Nutzung im städtebaulichen Kontext des Media Village der Olympischen Spiele 2016.
Die Arbeiten des ersten SAC-Jahres sind Architekturentwürfe für ein Landhaus und repräsentieren die Resultate von einem Jahr individuellen Research und Experimente der Studierenden.
Die Jury der Präsentation setzt sich aus einer erlesenen Auswahl von internationalen Architekten und Architekturkritikern zusammen. Über die Arbeiten der Studierenden diskutieren unter anderem, Professor Ben van Berkel, Dean SAC, Professor Dr. Johan Bettum Programdirektor SAC, Professor Beatriz Colomina Ph.D., Princeton University,Professor Eduardo Ferroni, Director Touring Programme, Escola da Cidade, Sao Paolo, Assistant Professor Carla Juaçaba, Pontifícia Universidade Católica do Rio de Janeiro , Professor Jeffrey Kipnis, The Ohio State University, University of Applied Arts (Wien), Professor Achim Menges, Stuttgart University , Professor Ciro Pirondi, Director Escola da Cidade, Sao Paolo. Professor Alvaro Puntoni, Pedagogic Coordinator Escola da Cidade, Sao Paolo , Professor Mark Wigley Ph.D., Dean Columbia University Graduate School of Architecture, Planning and Preservation
Weitere Programmpunkte:
Donnerstag, 08.07. - 18:15
Verleihung des Günter Bock Preises.
Das vierte Jahr in Folge wird der Günter Bock Preis an einen Studierenden des ersten Jahres für herausragende Leistungen verliehen. Der Preis wird gestiftet durch den Lions Club Frankfurt Flughafen und durch den Vortragenden der Dean’s Honorary Lecture, Prof. Jeffrey Kipnis überreicht.
Donnerstag, 08.07. - 18:30
DEAN’S HONORARY LECTURE:
JEFFREY KIPNIS
Die Dean’s Honorary Lecture 2010 wird von dem weltbekannten Architekturtheoretiker und -kritiker Jeffrey Kipnis, Professor an der Ohio State University Department of Architecture und visiting professor am GSD, Harvard; GSAPP, Columbia und Distinguished Visting Professor at the University of Applied Arts, Vienna, gehalten
Donnerstag, 08.07. - 16:30
Ausstellungseröffnung
THE SYNTHESIS OF NATURE AND ARCHITECTURE PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE +‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
LAUDATORY: PROFESSOR BEN VAN BERKEL, DEAN SAC LECTURE: PROFESSOR CIRO PIRONDI, DIRECTOR ESCOLA DA CIDADE
Die Städelschule Architecture Class (SAC) präsentiert die Ausstellung der Arbeiten ihrer Studierenden als Teil des Projektes SYNAAR, the Synthesis of Nature and Architectue.
SYNNAR ist eine Zusammenarbeit zwischen der Escola da Cidade - Arquitetura e Urbanismo in Sao Paulo und der SAC. Die Projektkollaboration geht bis 2013 und beinhaltet verschiedene Arten des akademischen Austauschs und gemeinsamer Projektarbeiten.
Das Projekt bezieht sich auf brasilianische und europäische Architektur und postuliert die Möglichkeiten, die aus zeitgenössischen material-technologischen Entwicklungen entstehen, in den resultierenden Herausforderungen, denen die Architektur in den beiden globalen Gebieten ausgesetzt ist.
Unter diesen Voraussetzungen versucht SYNAAR neue Formen von formalen und funktionalen Beziehungen zwischen Architektur und Natur zu entdecken. SYNAAR lernt hierbei von den theoretischen Modellen beider Sphären. Die Qualitäten von künstlichen und natürlichen Systemen beinhalten beide die Organisation von Form und ihrer Wechselbeziehung auf zahlreichen Ebenen des Austausches. Im Kontext der Nachhaltigkeit als allgegenwärtigen Themenstellung in der Architektur, konzentriert SYNAAR sich speziell darauf von der Natur zu lernen, um zukünftiger Entwicklung der Architektur zu beeinflussen.
Die Ausstellung untergliedert sich in drei Teile:
VARIOUS
PANORAMA OF CONTEMPORARY BRAZILIAN ARCHITECTURE
Der Ausstellungteil Panorama of Contemporary Brazilian Architecture präsentiert realisierte Projekte in Brasilien der letzten Dekaden. Er besteht aus über 50 Paneelen, welche die einzelnen Projekte in Text, Zeichnungen, Fotografien und Konzepten dokumentieren. Die Ausstellung reflektiert die faszinieren Schönheit brasilianischer Kultur und die große Vielseitigkeit der zeitgenössischen nationalen Architektur.
Die Ausstellung wurde von Ciro Pirondi kuratiert und zuvor an der Columbia University, New York und IIT, Chicago gezeigt.
SAC STUDENT WORK
‘THE COUNTRY HOUSE’ AND ‘THE MEDIA VILLAGE’
Der Ausstellungsteil zeigt die Arbeiten der Studierenden der SAC 2009-10.
OZEAN
AN ART EXHIBITION
Als Teil ihrer End-of-Year events 2010 ist die Architekturklasse besonders stolz, eine Gruppe Frankfurter Künstler eingeladen zu haben, ausgewählte Arbeiten in den Räumlichkeiten der Diamantenbörse auszustellen.
Die Gruppe besteht aus MARTIN NEUMAIER, HANS PETRI, PEYMAN RAHIMI, BERHARD SCHREINER, SEBASTIAN STöHRER, STEPHEN SUCKALE, NINA TOBIEN, SILKE WAGNER, STEFAN WIELAND und HOLGER WÜST.
Ewa Lajer Burcharth: Paint and Person in Chardin
Vortrag
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.
Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.
Ewa Lajer Burcharth: Paint and Person in Chardin
Mittwoch, 7. Juli, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
The lecture investigates Jean Siméon Chardin’s extremely successful yet enigmatically brief engagement with genre painting in order to recover the fundamental strangeness of these works. Although genre scenes have been widely recognized to constitute a major aspect of Chardin’s practice, their singularity as individual works and their odd status as a group in the painter’s oeuvre have not been sufficiently accounted for. Focusing on the structure and morphology of these works, especially on the role of the figure and Chardin’s idiosyncratic technique, I address the question of the relation between individuality and materiality as an artistic and cultural problem.
Ewa Lajer-Burcharth is William Dorr Boardman Professor of Fine Arts at Harvard University. While her focus has long been on eighteenth- and nineteenth-century European art and critical theory, she has also published essays on contemporary art, including artists such as Mona Hatoum, Cornelia Parker, Pipilotti Rist, Sam Taylor-Wood, Jane and Louise Wilson, Krzysztof Wodiczko and others. She is the author of Necklines: The Art of Jacques Louis David after the Terror (1999) and more recently of essays on Greuze, Fragonard, Chardin, and Boucher. She is currently a Fellow at the Wissenschaftskolleg zu Berlin where she is completing a new book titled Paint and Person in Eighteenth Century Art and is also working on a cultural study of interiors and interiority in the contemporary art.
Donnerstag, 10. Juni 2010
Ei Arakawa
Vortrag
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.
Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.
Ei Arakawa: A Performance Group: Jikken Kōbō (Experimental Workshop) and Etc.
Donnerstag, 10. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Ei Arakawa (b. 1977, Japan) almost always works in a group. Involving simple building materials, video, choreographed sequences and printed banners and posters, the performances he organizes address particular domains of identity - spectacular rock stages, USA alien status, Japanese historical avant-garde, Gay riots, and the administration of artist singularities. Yet, the group tries to leap/leak from these, continuously and temporarily. Ei Arakawa's exhibitions/performances have taken place at Performa07, New York; Yokohama Triennale, Japan; New Museum, New York; The Power Plant, Toronto; ICA, London; Kunsthalle Zurich, Switzerland; and University of Michigan Museum of Art, Ann Arbor.
Grand Openings (since 2005) is a performance collective that consists of five different commitments; a performance artist (Ei Arakawa); a painter/musician/writer (Jutta Koether); a gallerist/artist/singer (Emily Sundblad); a curator (Jay Sanders); and a composer (Stefan Tcherepnin); Their performances were shown in Bonniers Konsthall, Stockholm; Bumbershoot 2008, Seattle; MUMOK, Vienna; Echigo-Tsumari Art Triennial 2006, Nigata; and Performa05, New York. With the funding from Kunstzeitraum, Munich, Grand Openings is currently working on their upcoming book planned to be released from Koenig Books London in 2010/11.
Achim Menges
The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).
In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.
Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Achim Menges: Computational Form and Material Gestalt: Architectural Phenotypes
Mittwoch, 9. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Over the last few years, Achim Menges has emerged as a leading voice on the international scene in architecture on topics related to form generation, computational design and 'performative' design strategies. At various institutions, he has led research that engages with the underlying material and technological structure of the design process to explore new avenues for architecture. The work has been disseminated in an impressive list of conferences, papers and books, including Hensel, M., Menges, A., Weinstock M.: Emergent Technologies and Design (Routledge, Oxford, 2010) and Hensel, M., Menges, A. (eds.): Form Follows Performance: Zur Wechselwirkung von Material, Struktur, Umwelt (ArchPlus No. 188, ArchPlus Verlag, Aachen, 2010).
In SAC's current lecture series, 'The Production of Appearance,' he will speak about research and findings that relates to architectural production in this technological and methodological context.
Achim Menges is professor at Stuttgart University where he is the Director of the Institute for Computational Design. He is also a Visiting Professor in Architecture at Harvard University’s Graduate School of Design as well as the Emergent Technologies and Design Graduate Programme at the Architectural Association in London. Previously, he has taught at the AA School of Architecture as Studio Master of the Emergent Technologies and Design Graduate Program from 2002 to 2009, as Unit Master of Diploma Unit 4 from 2003 to 2006 and, from 2005 to 2008 as Professor for Form Generation and Materialisation at the HfG Offenbach University for Art and Design.
Bassam el Baroni
Vortrag
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.
Bassam el Baroni: Kicking Away the Ladders Notes on Curating Biennials in Socio-Economic Stationary State
Dienstag, 8. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of Alexandria Contemporary Arts Forum (ACAF), a collectively run, non-profit art space which has been in operation since December 2005.Baroni’s recent curatorial projects include You, Me and the Trajectories of a Post-Everything Era at PROGR Bern, Switzerland and ACAF 2005-2006; Cleotronica 08, Alexandria’s first international media art festival, 2008;Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and A.K.A. Education, which took place in Alexandria in 2009.
Baroni is the curator of ACAF’s contribution to Manifesta 8along with Associate Curator Jeremy Beaudry. Manifesta 8will be collaboratively curated by ACAF together with the Chamber of Public Secrets and Tranzit.org, and will open in Murcia, Spain in October this year.Alongside his curatorial projects, Baroni has most recently turned his attention to developing and performing a series of dramatised lectures entitled FOXP2, the latest in the series being FOXP2 New York in which he delivered his text to the sound of musical beats generated by the New York based beat-boxer Kenny Muhammad.
Aleksandra Mir
Vortrag
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info
Aleksandra Mir: OPEN
Donnerstag, 3. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Aleksandra Mir was born 1967 in Poland, grew up in Sweden and spent 15 years in NYC where she studied Art and Cultural Anthropology. The last 5 years Mir has been living in Palermo which she is about to leave to spend the next 2 years traveling to work on a book series. Her work has often dealt with travel, transition, identity, public and collective life. About 30% of practice takes the form of printed matter and published projects,
30% are large scale public commission and 30% more traditional gallery and museum exhibitions. Aleksandra Mir moves freely between them.
www.aleksandramir.info
Adam Caruso
the Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.
Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Vortrag
Adam Caruso: Almost Everything
Mittwoch, 2. Juni, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Caruso St John, one of the leading architects in the UK, was established by Adam Caruso and Peter St John in 1990. Work by the practice includes prominent museum and gallery buildings such as the New Art Gallery Walsall, the Victoria and Albert Museum of Childhood, Nottingham Contemporary and the Gagosian Galleries in London and Rome. The practice has been the architects for Tate Britain since 2007. Caruso St John´s ongoing interest in exhibition design has resulted in diverse collaborations with artist Thomas Demand, most recently at Mies van der Rohe’s Neue Nationalgalerie in Berlin.
Adam Caruso has taught at the University of North London from 1990-2000. He was a Visiting Professor at the Academy of Architecture in Mendrisio, Switzerland from 1999-2001 and Professor of Architecture at the University of Bath from 2002-2005. In 2005 he was a visiting critic at the Graduate School of Design at Harvard University. He is currently Visiting Professor on the Cities Programme at the London School of Economics and was a Visiting Professor at ETH in Zurich, 2007- 2009.
Jimmie Durham
Vortrag
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.
Jimmie Durham
Dienstag, 1. Juni, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Jimmie Durham is a seminal American sculptor, essayist and poet. His career has seen him create, perform and exhibit work across the globe. His first solo exhibition at the University of Texas, Austin in 1965 occurred during a period when the cultural and political uses of material, objects and space were central to his practice. Since that time his substantial career has deftly bridged the space between art and activism. From 1969 he was based in Europe (studying at the Ecole de Beaux Art, Geneva) returning to the USA in 1973; from 1987 - 1994 he lived and worked in Mexico returning to Europe in the mid 90s where he is currently based. Although his work is primarily sculptural, Durham’s oeuvre has also embraced theatre, performance, literature and poetry and is often embedded and affected by the location in which it is produced.
Mittwoch, 26. Mai 2010
Ingo Niermann
The Architecture Class presents:
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).
'The Production of Appearance' - Public Lecture Series Summer Semester 2010
Lecture
Ingo Niermann: How To Be Relevant?
Donnerstag, 27. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Ingo Niermann is a novelist, freelance writer, and editor of the book series Solution. His published books include Solution 186–195: Dubai Democracy (2010), Solution 1–10: Umbauland (2009), Solution 9: The Great Pyramid (with Jens Thiel, 2008), The Curious World of Drugs and Their Friends (with Adriano Sack, 2008), China ruft dich (2008), Metan (with Christian Kracht, 2007), Skarbek (with Antje Majewski, 2005), Atomkrieg (with Antje Majewski, 2004), Minusvisionen (2003), and Der Effekt (2001). Niermann co-founded the collective Redesigndeutschland, invented a tomb for all people The Great Pyramid and conceived the exhibition Dubai Düsseldorf at Kunstverein für die Rheinlande und Westfalen in Düsseldorf (2009).
Dienstag, 25. Mai 2010
Hal Foster
Johann Friedrich Städel Lecture 2010
Eine Veranstaltung des Instituts für Kunstkritik
Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.
Eine Veranstaltung des Instituts für Kunstkritik
Hal Foster:
"how to survive civilization, or what i have learned from dada"
Dienstag, 25 Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Hal Foster is Townsend Martin 1917 Professor of Art & Archaeology at Princeton university, coeditor of 'october' magazine, and frequent contributor to 'london review of books', 'artforum', and other journals. His "figment: painting and subjectivity in the first pop age" will appear next year from Princeton university press.
Montag, 17. Mai 2010
Antek Walczak
Vortrag
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”
Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.
Antek Walczak: How I Learned to Stop Worrying and Love the Bomb
Mittwoch, 19. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Walczak will be speaking about the film - Until the Light Takes Us (2009) - its subject is one that many might be familiar with - Norwegian Black Metal. Perhaps in this confluence of knowing something and knowing nothing, the few clips that will be screened during the talk will suffice to get things rolling. For the sake of discussion, this is one few films I can think of that I’d call “of this time,” both in the way it was made, and in its permeability to many other things apart from the oral history of a particular subculture. The fact of having the painter Bjarne Melgaard in the film lands us in the arena of contemporary art, which is a fine pretext to blow everything open to the subject of post-internet media and communication, and the striking differences of the past 15 years in the value and circulation of information. By a series of connections I will also bring the subject of fashion along for the ride, and as well attempt a brief revival of Marshall Mcluhan’s notion of “media, hot and cold.”
Antek Walczak was born in Grand Forks, North Dakota in 1968 and raised in Pittsburgh, Pennsylvania. He received a BFA at New York University’s Tisch School of the Arts. His work has been shown at Cinematexas in Austin, the Pompidou Center, Fri-Art in Fribourg, Switzerland and the Museum Ludwig in Cologne. He is a core member of Bernadette Corporation since 1994. He has written for magazines/zines like Purple, Pacemaker, Pazmaker, Parkett, May Magazine, Afterall, Zehar, and Made in USA.
Clémentine Deliss
Vortrag
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info
Clémentine Deliss: Anti-psychiatry / Teaching Deviance: somewhere between art practice and radical ethnography within a museum
Dienstag, 18. Mai, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Clémentine Deliss: curator, independent publisher, and since April 2010 Director of Museum of World Cultures Frankfurt, (Museum der Weltkulturen, Frankfurt). Studied contemporary art and social anthropology in Vienna, London and Paris; PhD from the School of Oriental and African Studies, University of London. Since 1996 producer of the writers’ and artists’ organ "Metronome", launched at the Dakar and Venice biennales; Kunsthalle Basel; DAAD, Berlin; documenta X and documenta 12; Galerie Chantal Crousel, Paris; Kandada/CommandN gallery, Tokyo. From 1999-2000, Guest Professor, Städelschule, Frankfurt. Between 2003-2010 director of Future Academy, Edinburgh College of Art with student research cells in Senegal, India, Europe, Australia, USA, and Japan. In 2007, initiated Randolph Cliff artists’ residency programme together with Edinburgh College of Art, National Galleries of Scotland, University of Edinburgh, and patron Charles Asprey. Recent artists: Thomas Struth, Frances Stark, Dexter Sinister, Ei Arakawa, Manfred Pernice, Joseph Kosuth, Dan Peterman, Marc Camille Chaimowicz. www.metronomepress.com; www.futureacademy.info
Mittwoch, 5. Mai 2010
BONNIE CAMPLIN
Vortrag
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.
Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.
more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/
Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:
Catherine Wood:
Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?
Bonnie Camplin:
I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.
CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?
BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.
CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.
BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.
CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.
BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.
CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?
Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.
CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?
When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.
You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?
I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).
Bonnie Camplin: Free Talk
Montag, 5. Juli 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Bonnie Camplin will talk about Working a Look, Bonobo Monkeys, Anarchism, discos not discourse, survivalist temporality, synthesis, Emergence, the sensory intellect and her practice within.
Camplin graduated from St Martins in 1992 and spent the next ten years in London Nightclub-land as a host, dancer and DJ. She set up many experimental avant garde/ electronic club nights around So-ho such as “The Sound” and “HARDERFASTERLOUDER”. She continued the while with her photography and collage and by 2002 had fully resumed her practice when she joined the group DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has shown in London and internationally and in 2006 released a Solo LP of her experimental music Heavy Epic. She has made films, drawings, scultpture and watercolours.In 2007 she collaborated with Paulina Olowska for a two woman show “Salty Water/ What of Salty Water” at Portikus Frankfurt. Recent shows include “When the Wind Blows Up You” a performance event at Chisenhale Gallery London and “SAS” at Michael Benevento Gallery L.A. In July 2010 she will have a solo show at MIMA UK.
more Info:
http://www.cabinet.uk.com/index.php?bonnie-camplin
http://www.galeriefriedlaender.de/artists/bonnie-camplin/bonnie-camplin-images
http://www.beneventolosangeles.com/
Interview with Bonnie Camplin
Edited version published in Untitled Magazine March 2007:
Catherine Wood:
Before you made drawings and films, you were more involved in music and clubs, and you were a part of Mark Leckey’s group donAteller. How were those activities significant for you in terms of what you’re making now?
Bonnie Camplin:
I got into doing parties and club nights originally out of entrepreneurial drive, opportunity and obviously creativity. The art of a good party is in the word;. it's making participants out of anticipants. You enable this with music and surroundings and the details and the host who is the catalyst. The instinct to belong and to enjoy meaningful shared experience is what the nightclub is all about. It has this in common with religious worship and other kinds of clubs and organizations. I just wanted things to happen all the time and for it to go all haywire. I was very into dressing and looks and dancing it all into a mess. When I first met Mark Leckey he asked me to be in DonAtteller mainly because of my look at the time and he had been to one of my clubs (HARDERFASTERLOUDER) and loved it. It was agreed that we had a shared sensibility. I loved working with Mark, Ed and Enrico making the music but I think a love of dressing up and dancing does not make you a stage performer and I often felt shy on stage which I never did in a disco. People who are able to get lost in a "performance state" are very rare. Really I'm a quiet private person and being in the realm of artefact is much better for my nerves. However I am only surviving, extemporizing, responding to the phenomena and synthesizing as always.
CW: So the quieter practice of drawing or making films suits you better? You wrote in a recent text of the labour intensive process of making your drawings in HB pencil: "the sublime beauty is the evidence that I still own my time and labour. For a feminist and Marxist (self employed) who consciously participates in a free-market economy these things are important." What kind of relationship is embodied in the drawings between the making process, the image you choose and the labour-time relations you negotiate as a working artist?
BC:
When I started making those drawings it was not to illustrate a theory it was
because I wanted to see if I could commit to something that might take a
long time. The concept of longevity was foreign to me. The last time I
had done a proper drawing, as in a proper sustained "study" of something
was at school. For years the only things I had made was photographs and
photo-montages. I have always collected books that have a lot of really great images in them. So I had a lot of fabulous images and lots of time and no money. Choosing an image it is just whether it reminds me of melancholy then taking the colour out of melancholy leaves you with that other thing called ennui which is worse. in terms of style I am just reproducing the image to the best of my technical ability which is roughly equal to that of an A level Art student.
To answer your art market question: When I said I was a self employed Marxist participating in a free-market economy I was pointing up that if I internalised those conflicts then I would go mad. That's what an artist does; they externalise those conflicts. The onus is on the artist to transcend the forces that kill freedom and life. If they succeed then they provide
some meaning and therefore salvation; a great work of art is something
charged with uncanny properties which makes it priceless. The
monetary value it acquires is due to the artist having to make a living
and all the other factors are because so does everyone else involved.
CW:
I also wanted to ask you about the idea of the artist as ‘aristocrat’, thinking about Thorstein Veblen’s ‘theory of the leisure class’ in which he describes the way that the moneyed ‘leisure class’ demonstrate their wealth by engaging in time-consuming but non-productive labour, such as learning obsolete languages or knowing about fancy dog-breeding. Does this have any resonance with your perception of the artist’s position, going against the grain of being ‘efficient’ with time? I was thinking about the labour intensity of your drawings being at odds with a productive, capitalist attitude.
BC:
Economics is all about distortion. Once you recognize its elasticity you are free to set your own value on your time and labour (at least in a culture such as ours).
Re the artist as aristocrat: The way I describe it is to live “The Invented Life". The other alternative for an imaginative, sensitive person of scant means is just too hideous to mention.
CW:
Why were you interested in longevity, and why was it foreign to you?
How does the idea of longevity and labour-intensive drawing relate to the way you deal with time in your films? I am thinking particularly about your Frieze film commission from 2006, the ‘Special Afflictions by Roy Harryhozen’.
BC:
Longevity hit me as a concept when I reached the age of thirty which I
never thought I would. (It isn't such an arbitrary number. In the film
"Logan's Run" the age of thirty is when you are terminated as it is
roughly the age at which humans begin to deteriorate) Growing up with
M.A.D. i.e. Mutually Assured Destruction (My Dad was obsessed with it).
Constantly uprooting and moving home throughout childhood, Parents dying
young etc. Everything I did was informed by a strong feeling of "Well I
might die tomorrow!" and "The world could end tomorrow!". I really felt
it and believed it. This can easily manifest itself as a death-wish and
self destructive behaviour. Also because I associated ideas of
commitment and long term investment with conservative values. I couldn't
continue in that manner though because as well as being a liberating force
it was quite exhausting and debilitating for me. So it was quite a
relief and a revelation coming to terms with the concept of longevity.
The idea of longevity and labour-intensive drawing relates directly to
how I dealt with time in "Special Afflictions by Roy Harryhozen": The
"Special Afflictions" in question are each of a temporal nature. Each
character's identity is defined by the nature of their particular
"Special Affliction" or as in the language of cinema their "Special
Effect". John Prolong is slow in his delivery; he is
"time-stretched", Scratch the Hat is like an eighties "Scratch-film";
he scrubs backwards and forwards through his speech and gets stuck like
a scratched CD, Lady Silba has a kind of catatonic affliction causing
her to sporadically get "stuck in a moment". She also appears to be
rather crudely "animated" a la "Claymation". Fox is essentially a
"still" but his anima is contained in a bell jar in the form of
compressed wild dogs. In this film special effects are just a metaphor
for psychic damage caused by life events but specifically the
consequences of creative acts (or visions acted out) by humans on other
humans. Religious people believe that life was "designed" by a God
whereas Atheists believe that God is a human invention. Roy Harryhozen
represents God and he represents the other creator, the artist; both are
fallible and a potential disaster because both are only human. If you
have an imagination it is vital that you have the vigilance not to
become a casualty of it.
CW: Is your desire to expose the manipulative potential of your medium to do with the fact that you have said you no longer watch tv or listen to radio, do not have tolerance for ‘mainstream media’ any more? Do you have tolerance for, or believe in, subculture as an alternative?
Subculture is a group response to the oppressive forces within the pervading culture. It's transient by nature. I imagine it's always existed and always will. In rich Western cultures it is impossible for a person over the age of 30 to participate in its more energetic versions or truly understand it or even be aware of it. Middle aged people who participated in the relevant subculture of their own generation who complain that there's no valid one today can't bear the idea that their days of raw vitality are over yet they can't even imagine what form it would take and they can't see the contradiction in this fact. This is due to changes in their metabolism. All that's left for them to do is to stop watching TV and still they don't. Probably, the hardest part in an age of insidious marketing/ industrialized desire etc is to identify the thing in your culture that's not working for you or your group. It's like cancer. Cancer is not foreign matter it is just a proliferation of the tissue that you're made of. Mind you, Permaculture has wicker doors open to us all. So do most alternative cultures if you share their values. But don't be surprised when you realize the reactionary aspect to them all. But The real freaks are the ones who exist solely on a diet of mainstream culture ; the sick wretched fish-heads.
CW: Is there a link between this conception of ‘cancer’ and the film Cancer that you made? I was thinking of this in terms of a kind of entropic relationship between representation and what is represented: the destructing pixels and the way that you transpose an image into a highly worked pencil surface that obsessively covers every inch of the paper, kind of petrifying it?
When I made the "Cancer" video I was not thinking of mainstream culture actually I was thinking of the fact of Cancer and how it relates to proliferation of life and to creativity. I was symbolically disrupting/ corrupting/ invading the very fabric of the fact, partly demonstrating my basic doubts about the value of facts.
I have a liking for disrupting the picture plane (in some of the videos) and fixating on the surface of the image (in the HB pencil drawings) as the source of horror and claustrophobia within the act of perception. There is this thing that some people get which is like a macro very close proximity kind of hallucination which elicits a primal gag reflex kind of thing. I used to get it when I stared at the wall as I drifted off to sleep and would start to get this memory or something almost of being microscopic and the texture of the wall is suddenly magnified/ amplified loads of rubbery fingers pushing in your face only you don't have a face, as such. It isn't even a visual thing just this sightless wordless yet physical primal awareness of proximity to something else. It's a pre-lingual kind of thing that's impossible to describe accurately in words.
You describe yourself as a feminist. How do you see feminism at this point in time, and how is that a part of the historical Feminist movement? Are your collaborations with other female artists such as Lucy Mckenzie and Paulina Olowska, or indeed your involvement in the collective activity of donAteller, a part of these politics?
I am a feminist. If women have a deep sense of themselves within the world then it's good for the world because women have egos and women are mothers; if they're oppressed then the world pays the price because the only domain of influence then left for the woman is the one over her own child. Hysterical mothers make hysterical misogynist men out of sons. Also oppressed hysterical mothers take it out on their daughters especially when the daughter reaches adolescence. Woman's pleasure and sense of self is not at the expense of man's. Men would be so much happier in a truly matriarchal society. A man's physical strength belongs to women and children; it's a mistake to think that it's to enable him to subdue and control woman. Something which is overlooked in our culture is the destructive force of misandry i.e. a woman's hatred of men. The reason it's overlooked is that it's so institutionalized and so ingrained. It's actually assumed and accepted that women hate men but that's because the oppression of women is assumed and accepted. Also a woman's hatred of men when openly expressed is wrongly deemed as ineffectual. I dislike it when women refuse to acknowledge feminism. I couldn't be friends with a woman who wasn't a feminist. My collaborations with Paulina are based on shared feminist values and sisterhood but importantly we are both very interested in femininity and what is the feminine; currently inherent to my interest in autism in women- relative to the EMBTA (Extreme Male Brain theory of Autism).
Dienstag, 4. Mai 2010
TRISHA DONNELLY
Vortrag
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris
Trisha Donnelly
Mittwoch, 31. März 2010, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Trisha Donnelly wurde 1974 in San Francisco geboren; sie lebt and arbeitet in New York.
Einzelausstellungen: 2009: Museo d'Arte Moderna di Bologna (MAMbo), Bologna; 2008: Centre d'édition Contemporain, Bâtiment d'art Contemporain, Genf; Institute of Contemporary Art Philadelphia, Philadelphia; Renaissance Society, University of Chicago; The Douglas Hyde Museum, Dublin; 2007: Modern Art Oxford, Oxford; Casey Kaplan, New York; 2006: Air de Paris, Paris; 2005: artpace, San Antonio, Texas; Kölnischer Kunstverein, Köln; Kunsthalle Zürich, Zürich; 2004: Casey Kaplan, New York; The Wrong Gallery, New York; 2002: Casey Kaplan 10-6, New York; Air de Paris, Paris
FLORIAN PUMHÖSL
Vortrag
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.
Florian Pumhösl
Dienstag, 20. April, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Florian Pumhösl (*1971 in Vienna, lives and works there) constructs new referential systems, based on the mediation of avant-gardes graphic, painterly and architectonic tropes. His 16mm films and animations assimilate techniques and motifs of early scientific and abstract experimental filmmaking to constitute original reflections on the cinematic apparatus and its implications. Minimal glass paintings, which reproduce basic geometrical shapes, and films are woven together on an equal level with historical elements in considered exhibition displays. Pumhösl focuses particularly on strategies of appropriation, citation and montage and the research of European, Russian and Japanese art and architecture avant-gardes as the aesthetic equivalent to the mechanization of industrial production.
MARION VON OSTEN
Vortrag
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too. The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.
Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).
Marion von Osten: The Colonial Modern
Donnerstag, 6. Mai, 19 Uhr, Aula
Alle Veranstaltungen der Architekturklasse finden in englischer Sprache statt.
Based on her exhibition “In the Desert of Modernity – Colonial Planning and After” at the House of World Cultures (Berlin, 2008) Marion von Osten´s lecture focuses on the transformation of colonial North Africa into a laboratory for European modernization. The car-oriented city, the underground car park and other projects were intended as a blueprint for Europe’s metropolises, too. The lecture presents works of architecture and urban concepts and provides insight into the relationship and dependencies between the European modernity and colonialism.
Marion von Osten works with curatorial, artistic, and theoretical approaches that converge through the medium of exhibitions, installations, video and text productions, lecture performances, conferences, and film programs. She is a founding member of Labor k3000, Kleines Post-fordistisches Drama, and the Center for Post-Colonial Knowledge and Culture, Berlin. Since 2006 she is Professor at the Academy of Fine Arts, Vienna. Von Osten co-curated Atelier Europa (Kunstverein München, 2004), “Projekt Migration” (with Kathrin Rhomberg, Kölnischer Kunstverein) on the history of migration in post-war Germany and was artistic director of Transit Migration (2003–2005).
Mittwoch, 27. Januar 2010
Mathias Poledna
Vortrag
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.
Mathias Poledna: Songs to Remember
Mittwoch, 27. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mathias Poledna (*1965 Vienna/A, lives and works in Vienna, Los Angeles/USA) belongs to a generation of artists, who at the outset of the 1990s, with recourse to both the critical attitude towards institutions developed by the art of the 1960s and 1970s and to the conceptual practices of inquiry, analysis, and documentation, called into question the conditions under which art was being created and pushed for its re-politicization. With reference to the mass media’s collective memory of images, Poledna has repeatedly focused on the visualization of historic constellations in both political and popular culture contexts.
Mike Bouchet
Vortrag
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.
The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.
Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).
Mike Bouchet
Dienstag, 26. Januar, 19 Uhr, Aula
Die Veranstaltung findet in englischer Sprache statt.
Mike Bouchet was born 1970 in California, USA.
Lives and works in Frankfurt, Germany.
The work produced by Bouchet in recent years seems to present a compulsion to alter one’s place in the world by reproducing and re-contextualizing “desirable” things in and of the world. His projects and exploits are one-to-one models—real transactions with their own autonomy and agency. You cannot alter your place in the world without first altering your image of the world. Bouchet’s endeavor goes beyond representation or a kind of DIY prudence, into what can best be described as a real-life parody. This artist uses everything at his disposal to grow, package, and pitch his own products. In systems such as these, even real transactions are not completely convincing, the reification of one’s product through extensive image production is needed to make it completely viable.
Recent solo shows include ‘CANBURGER’, Galerie Georges-Phillipe & Nathalie Vallois, Paris; ‘New New Age Film Festival’, Galerie Parisa Kind, Frankfurt am Main (both 2008) and ‘16x9 Action Film’, Centre Georges Pompidou, Paris (2008) and MOCA, Los Angeles (2007). Group shows include ‘Making Worlds’, 53rd Venice Biennale; ‘Quand la première ivresse des succès bruyants ….’ CAPC Musée d’Art Contemporain de Bordeaux (both 2009) and ‘Meet Me Around The Corner’, Astrup Fearnley Museum of Modern Art, Oslo (2008).
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