African Cinema Series, 9. – 13. Mai 2012
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Mittwoch, 25. April 2012
Montag, 23. April 2012
Peter Greenaway
Vortrag
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Etcetera…
Vortrag
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Richard Jackson
Vortrag
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Dienstag, 7. Februar 2012
Rundgang 2012
Rundgang – Jahresausstellung der Studierenden der Staatlichen Hochschule für Bildende Künste - Städelschule
Pressemitteilung: download
Freitag, 10. – Sonntag, 12. FEBRUAR 2012
Eröffnung mit Preisverleihung: Freitag, 10. Februar, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, eine der weltweit führenden Kunsthochschulen, ihre Türen der
Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die
Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2011 nahmen mehr als
13.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr
2012 werden rund 180 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa
Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich
renovierten Städelschule ausstellen.
Highlights: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" Daimlerstraße 32
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und
Dürerstrasse.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Pressemitteilung: download
Freitag, 10. – Sonntag, 12. FEBRUAR 2012
Eröffnung mit Preisverleihung: Freitag, 10. Februar, 19 Uhr, Mensa Dürerstrasse 10
anschließend Rundgang-Party ab 22 Uhr, Daimlerstrasse 32 – 36
Öffnungszeiten der Ausstellung: Freitag - Sonntag, 10-20 Uhr
Der Eintritt ist frei
Einmal im Jahr öffnet die Städelschule, eine der weltweit führenden Kunsthochschulen, ihre Türen der
Öffentlichkeit. Drei Tage lang werden die Kunststudierenden ihre aktuellen Arbeiten in den Ateliers zeigen, die
Videokünstler und Filmemacher präsentieren ihre neuesten Produktionen in einem speziellen Filmprogramm.
Der Rundgang ist eines der beliebtesten Kunst-Events in Frankfurt geworden. Im Jahr 2011 nahmen mehr als
13.000 Besucher die Möglichkeit wahr, die Städelschule, ihre Professoren und Studierenden kennenzulernen. Im Jahr
2012 werden rund 180 Studenten aus den Klassen von Douglas Gordon, Judith Hopf, Michael Krebber, Christa
Näher, Tobias Rehberger, Willem de Rooij, Simon Starling und Ben van Berkel ihre Werke in der kürzlich
renovierten Städelschule ausstellen.
Highlights: (Gesamtprogramm siehe unten)
Freitag, 10. Februar
19 Uhr Eröffnung und Preisverleihung, Mensa
Moderation: Elif Erkan
Bernbeck-Stiftung Förderpreis (5.000€)
Preisträger: Seth Pick
Jürgen H. Conzelmann Preis (3.000€)
Preisträgerin: Ana Vogelfang
PRE Real Estate Deutschland Preis (2.500€)
Preisträgerin: Zoe Barcza und Margarethe Kollmer
Rentenbank Preis (3.000€)
Preisträgerinnen: Charlotte Simon & Jonathan Penca
Stylepark Preis (3.000€)
Preisträgerin: Benedikte Bjerre
Linklaters Preis (3.000€)
Preisträger: Yuki Kishino
Ernst &Young Preis (3.000€)
Preisträgerin: Helena Schlichting
Engel &Völkers Preis (3.000€)
Preisträger: Wendell Seitz
DIC Deutsche Immobilien Chancen Preis (3.000€)
Preisträgerin: Theresa Kampmeier
Jury: Simon Starling und Anja Nathan-Dorn
22 Uhr Rundgang Party, Daimlerstraße 32
mit "Tribe has spoken" (Korea / München) electronic dubstep rave Band
Sebastian Kofink / Peter Parker (Karawanserei, Basic Patterns), House DJs aus Berlin
Cotsios o Pikatillis (G41), DJ´s, Berlin / Zypern
Teknon Brutus (Tonkind), House DJ aus Berlin
Benjamin Tritschler und Daniel Fort, (Robert Johnson, Tanzhaus West, Silbergold, Discocaine) neue altbewährte
House DJs Frankfurt
Eintritt: 7 €
Samstag, 11. Februar
14 Uhr Vortrag von Peter Fischli, Aula
Peter Fischli (und David Weiss) - kurz Fischli/Weiss, sind ein Künstlerduo, das seit 1979 zusammenarbeitet. Sie
zählen zu den renommiertesten Gegenwartskünstlern der Schweiz. Ihre bekannteste Arbeit ist der Film „Der Lauf der
Dinge“, der 1987 während der documenta 8 gezeigt wurde.
Für ihre Arbeiten bedienen sie sich einer großen Bandbreite der künstlerischen Ausdrucksformen vom Film über die
Fotografie und Künstlerbücher bis hin zu Plastiken aus unterschiedlichsten Materialien und Multimedia-Installationen.
Sie adaptieren Gegenstände und Situationen des Alltags, die sie mit Humor und Ironie in einen künstlerischen Kontext
stellen und so philosophische und theoretische Fragen nach der Erklärung der Welt stellen.
15 Uhr, Mark von Schlegell's Pure Fiction class
Buchpräsentation: "Tales from the Crypt", Bar Crypt,
17 Uhr, Lesung aus "Tales From The Crypt"
Drinks: Bloody Mary
Filmklasse Küche
Sonntag, 12. Februar
12 Uhr "Daimler Matinée" Daimlerstraße 32
Kulinarisch:
Es gibt durchgehend kalte und warme Küche in der Dürer- und Daimlerstrasse
Service:
Die Bibliothek der Städelschule hat während des Rundgangs von 10 - 18 Uhr geöffnet.
Publikationen und Editionen sind dort erhältlich sowie weitere Informationen über die Städelschule.
Samstags und Sonntags von 11 - 20 Uhr verkehren kostenlose Shuttlebusse zwischen Daimlerstrasse und
Dürerstrasse.
Rektor: Nikolaus Hirsch
Künstlerischer Koordinator: Jonas Leihener
Für weitere und aktuelle Informationen: www.staedelschule.de
Kontakt:
+49 (0) 69 605008-0
mailing@staedelschule.de
Der "Rundgang 2012" wird unterstützt von:
Hans und Stefan Bernbeck-Stiftung
Rechtsanwalt Jürgen H. Conzelmann
Ernst & Young GmbH
Frankfurter Volksbank
PRE Real Estate Deutschland 1aps
Landwirtschaftliche Rentenbank
Linklaters LLP
satis & fy AG
Städelschule Portikus e.V.
Stylepark AG
Engel & Völkers AG
DIC Deutsche Immobilien Chancen AG & Co.
Dienstag, 31. Januar 2012
Eyal Weizman
Vortrag
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. In 2010/11 he was a guest professor at the Städelschule.
His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.
Die Veranstaltung findet in englischer Sprache statt.
Eyal Weizman: The Future Archaeology of Israel's occupation - The Work of DAAR on Space and Law
Mittwoch, 1. Februar 2012, 19 Uhr, Aula
Eyal Weizman is a writer and architect; director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2007 he is a member of the architectural collective Decolonizing Architecture in Beit Sahour/Palestine which has received the 2010 Prince Claus Award for Architecture. In 2010/11 he was a guest professor at the Städelschule.
His books include "The Lesser Evil" (Nottetempo, 2009, Verso Books forthcoming 2011), "Hollow Land" (Verso Books, 2007), "A Civilian Occupation" (Verso Books, 2003), the series "Territories", and many articles in journals, magazines and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet and Inflexions. Weizman has curated the exhibition "Territories" at KW, and participated in numerous exhibitions such as Manifesta 7 (2008) and Bozar in Brussels (2009), Redcat in Los Angeles (2010), and most recently "Common Assembly" at Nottingham Contemporary.
Die Veranstaltung findet in englischer Sprache statt.
Daniel Wetzel / Rimini Protokoll
Vortrag
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Daniel Wetzel / Rimini Protokoll: "This is not a performance"
On parasite performance strategies, globalized theater formats and how to turn the city into a multiheaded character.
Dienstag, 31. Januar 2012, 19 Uhr, Aula
Rimini Protokoll is the label for the works of Helgard Haug (born 1969), Stefan Kaegi (b. 1972) and Daniel Wetzel (b. 1969) in various team constellations (related to theatre, live art, radio plays and installation), often mentioned as inventors of a new wave of documentary theatre. Since 2000, Rimini Protokoll has brought its "theatre of experts" to the stage and into city spaces, interpreted by non-professional actors who are called "experts" for that very reason. Since 2004 Helgard Haug, Stefan Kaegi und Daniel Wetzel are artists in residence at Hebbel am Ufer (HAU) Berlin.
"Call Cutta", one of their recent works, was based on outsourcing: The performers or 'experts', who were employees of a call center, were located in Salt Lake, Calcutta, India, providing the audience in Berlin, Germany with individual cell phone performances, with each call center agent guiding just one spectator solely through the remote maze of lanes of Kreuzberg. Rimini Protokoll`s work includes among others "Karl Marx´ Kapital Vol. 1" (2006), "Deadline" (2004), "Shooting Bourbaki. Ein Knabenschiessen" (2002), "Mnemopark" (2005), "Hauptversammlung" (2009), and "100 Percent Karlsruhe" (2011, for the Supreme Court). "Call Cutta in a box" won a Honorary Mention by the Prix Ars Electronica 09 (International Competition for Cyber Arts) in the category Interactive Art. In 2011 Rimini Protokoll was awarded the Silver Lion of the 41th Biennale of Venice, established to honour new theatrical realities.
Die Veranstaltung findet in englischer Sprache statt.
Sonntag, 22. Januar 2012
Brigitte Weingart
Vortrag
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Brigitte Weingart: The Grammar of Glamour: Andy Warhol's Screen Test
Donnerstag, 26. Januar 2012, 19 Uhr, Aula
Brigitte Weingart teaches Literary and Media Studies at Bonn University and lives in Berlin.
Her research and teaching areas focus on the intersections of literature, popular culture, and media history (especially film). She is currently working on a book on fascination. Former books include a study on Infectious Words. Representations of AIDS (Ansteckende Wörter. Repräsentionen von AIDS, Suhrkamp Verlag 2002) and co-edited volumes on »original copies«, the relationships between the visible and the speakable, and the communication of rumours.
Emily Wardill
Vortrag
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Emily Wardill
Mittwoch, 25. Januar 2012, 19 Uhr, Aula
It is rare to see a box of Quality Street chocolates juxtaposed with a pig’s trotter; as rare, perhaps, as witnessing a teenager in spats dressed as a killer whale having a panic attack. Familiarity and logic are, however, thin on the ground in Emily Wardill’s films. Generally speaking, the London-based artist wrestles with languages – visual, cinematic, verbal, musical – not in order to control them but to free them up, as if non-sequiturs or logistical leaps and slippages are closer to the way we process information than the demarcations of conventional logic we more often rely on. This is not to say that her films make no sense – they do, but in a very strange way. They are the least predictable things I have seen in a long time.
Jennifer Higgie, Frieze, 2010
Emily Wardill will talk backwards from her most recent project Fulll Firearms to SEA OAK – tracing a interest in artists film and the relationship between ideas and the way that they materialize. She will try to use work within the lecture and talk about it without explaining it whilst still attempting to be very clear.
Wardill is a London-based filmmaker. She has exhibited widely, including solo shows at de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, and at the Venice Biennale in 2011. Her most recent show at the Badischer Kunstverein opens on 26 January.
Dienstag, 17. Januar 2012
John Levack Drever
Vortrag
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
John Levack Drever: Where Field and Built Sound Synthesise
Freitag, 20. Januar 2012, 19 Uhr, Daimlerstrasse 32, Frankfurt am Main
Drever will discuss methods and fieldcraft related to environmental sound recording and editing, with particular reference to his work Ochlophonics Hong Kong, a sonic study on the auditory experience of living and coping in a crowded, postcolonial, ultra-modern city soundscape. The talk will reference concepts from acoustics, acoustic ecology, sociology and ecological urbanism pertinent to urban soundscape design.
John Levack Drever is a sonic artist and soundscape researcher who focuses on the minutiae of everyday soundscapes, background noise and human utterance. His practice bridges arts practice, environmental acoustics and noise control, and social sciences. He is a Senior Lecturer in Composition and head of the Unit for Sound Practice Research at Goldsmiths, University of London. His works range from the Groupe de Recherches Musicales (1999) to the Royal Society for the Protection of Birds (2002). He is a Fellow of the Royal Geographical Society and the Royal Society of Arts. Current research is concerned with the impact of sound design on vulnerable groups.
This talk is given in the context of techno +: Building Sound Machines, a workshop organised by "Post" during the lecture programme at Städelschule Frankfurt am Main.
Freitag, 13. Januar 2012
Montag, 12. Dezember 2011
Beate Söntgen
Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Beate Söntgen
Vortrag
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Beate Söntgen: Matisse's Chairs
Dienstag, 13. Dezember 2011, 19 Uhr, Aula
Since the inception of modernity, since the rise of the bourgeois culture of representation, the figure of the interior has modeled the relationship between the picture and its beholder: as an enclosed space that opens up toward the observer and invites him or her to participate in the represented world. Matisse, however, thwarts this fantasy of immersion: with his chairs. They are precisely not figures of the notorious armchair, with its therapeutic mission of furnishing us with a peaceful interior world as a shield against the demands of what is outside. Matisse’s chairs stand literally athwart the invitation to participate, keeping us at arm’s length. The interior is the very subject on which Matisse worked to become Matisse, if we accept Yve-Alain Bois’s conception of a “Matisse system.” Only the articulation of margins such as that engendered by the bistable figure of inside and outside in the interior allows for the representation of the expansive force that is characterestic of Matisse – an expansive force that is directed sideways, not toward the beholder.
Beate Söntgen holds the Chair of Art History at Leuphana University, Lüneburg, since 2011. Before she was Professor of Art History at Ruhr-University of Bochum and Laurenz-Professor for Contemporary Art at the University of Basel. 1996-2002 Freelancer at the Feuilleton of the FAZ. Contribution to Exhibitions, 2006 as a Co-Curator of ‘K20’ Düsseldorf: 'Matisse. Figure-Colour-Space.’ Publications on modern and contemporary art and on art theory.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 5. Dezember 2011
Judith Hopf
Vortrag
Judith Hopf: Some End of Things
Mittwoch, 7. Dezember 2011, 19 Uhr, Aula
Judith Hopf will talk about her recent series of works with the title: Some End of Things. Alongside her 'research' concerning Endings, Hopf will concentrate on keywords like: Exhaustion, Emancipation and Entrance in order to develop perspectives beyond the hopefully and finally found Ends.
"...The artist's recent work often returns to the idea of exhaustion. She frames this concept in Beckettian terms, considering the Janus-faced possibilities of speaking exhaustively and, conversely, the point at which meaning itself is exhausted. Are you exhausted because of the endless possibilities or because the possibilities have already been exhausted? Hopf's work suggests unexpected modes of resistance to what she has called 'the tyranny of the same'. …" Sam Thorne , Frieze Foundation, 2011
Judith Hopf´s 'Some Ends of Things' were recently exhibited at Galerie Croy/Nielsen, Berlin, Frieze Foundation London, Alex Zachery Gallery, New York and Galerie Andreas Huber, Wien. In 2011 she participated in various groupshows like 'Priority Moments', Herald Street, London, 'Traurige Tiere', Kunstverein Bonn and 'How to Work', Kunsthalle Basel.
Judith Hopf is professor at Städelschule since 2008.
Die Veranstaltung findet in englischer Sprache statt.
Judith Hopf: Some End of Things
Mittwoch, 7. Dezember 2011, 19 Uhr, Aula
Judith Hopf will talk about her recent series of works with the title: Some End of Things. Alongside her 'research' concerning Endings, Hopf will concentrate on keywords like: Exhaustion, Emancipation and Entrance in order to develop perspectives beyond the hopefully and finally found Ends.
"...The artist's recent work often returns to the idea of exhaustion. She frames this concept in Beckettian terms, considering the Janus-faced possibilities of speaking exhaustively and, conversely, the point at which meaning itself is exhausted. Are you exhausted because of the endless possibilities or because the possibilities have already been exhausted? Hopf's work suggests unexpected modes of resistance to what she has called 'the tyranny of the same'. …" Sam Thorne , Frieze Foundation, 2011
Judith Hopf´s 'Some Ends of Things' were recently exhibited at Galerie Croy/Nielsen, Berlin, Frieze Foundation London, Alex Zachery Gallery, New York and Galerie Andreas Huber, Wien. In 2011 she participated in various groupshows like 'Priority Moments', Herald Street, London, 'Traurige Tiere', Kunstverein Bonn and 'How to Work', Kunsthalle Basel.
Judith Hopf is professor at Städelschule since 2008.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 24. November 2011
Andrea Fraser
Vortrag
Montag, 28 November 2011, 19 Uhr, Aula
Andrea Fraser
Andrea Fraser’s work is an on-going investigation of what we want from art. She has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees and museum visitors, from the pursuit of prestige to financial investment to sexual fantasy to self-realization. Developing on site-specific and research-based practices that emerged with conceptualism, combined with feminist investigations of subjectivity and desire, her methods are rooted in the psychoanalytic principle that one can only impact structures and relationships in the immediate performance. She is Professor in the Department of Art at the University of California Los Department and is visiting faculty at the Whitney Independent Study Program.
Fraser will speak about her work and the challenge of conceiving any way to participate in the art field that do not seem completely bankrupt and compromised.
Montag, 28 November 2011, 19 Uhr, Aula
Andrea Fraser
Andrea Fraser’s work is an on-going investigation of what we want from art. She has used performance, video, and a range of other media to explore the motivations that drive artists, collectors, art dealers, corporate sponsors, museum trustees and museum visitors, from the pursuit of prestige to financial investment to sexual fantasy to self-realization. Developing on site-specific and research-based practices that emerged with conceptualism, combined with feminist investigations of subjectivity and desire, her methods are rooted in the psychoanalytic principle that one can only impact structures and relationships in the immediate performance. She is Professor in the Department of Art at the University of California Los Department and is visiting faculty at the Whitney Independent Study Program.
Fraser will speak about her work and the challenge of conceiving any way to participate in the art field that do not seem completely bankrupt and compromised.
Martha Rosler
Vortrag
Martha Rosler
Freitag, 25. November 2011, 19 Uhr, Aula
Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.
Her work in numerous international solo- and group exhibitions such as the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in Documenta XII, SkulpturProjecte07 in Münster, "That's the way we do it", Kunsthaus Bregenz (2011), and the 12th Istanbul Biennial in 2011. A retrospective of her work, "Positions in the Life World," was shown in five European cities and at the International Center of Photography and the New Museum for Contemporary Art (both in New York).
Rosler has published ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life.
Martha Rosler
Freitag, 25. November 2011, 19 Uhr, Aula
Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.
Her work in numerous international solo- and group exhibitions such as the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); as well as many major international survey shows, including Open Systems at the Tate Modern (2005). Her work has been included in Documenta XII, SkulpturProjecte07 in Münster, "That's the way we do it", Kunsthaus Bregenz (2011), and the 12th Istanbul Biennial in 2011. A retrospective of her work, "Positions in the Life World," was shown in five European cities and at the International Center of Photography and the New Museum for Contemporary Art (both in New York).
Rosler has published ten books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004, An October Book, in conjunction with the International Center of Photography), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life.
Donnerstag, 10. November 2011
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Vortrag
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Mittwoch, 16. November 2011, 19 Uhr, Aula
Fergus Henderson (born 1963) is an English chef who founded the St John restaurant in St John St, London. He is often noted for his use of offal and other neglected cuts of meat as a consequence of his philosophy of Nose To Tail Eating. Following in the footsteps of his parents, Brian and Elizabeth Henderson, he trained as an architect at the Architectural Association in London. Most of his dishes are derived from traditional British cuisine and the wines are all French.
Die Veranstaltung findet in englischer Sprache statt.
Fergus Henderson, Trevor Gulliver und Douglas Gordon: Meat and Heat
Mittwoch, 16. November 2011, 19 Uhr, Aula
Fergus Henderson (born 1963) is an English chef who founded the St John restaurant in St John St, London. He is often noted for his use of offal and other neglected cuts of meat as a consequence of his philosophy of Nose To Tail Eating. Following in the footsteps of his parents, Brian and Elizabeth Henderson, he trained as an architect at the Architectural Association in London. Most of his dishes are derived from traditional British cuisine and the wines are all French.
Die Veranstaltung findet in englischer Sprache statt.
Ross Birrell / David Harding: You like this Garden?
Vortrag
Ross Birrell / David Harding: You like this Garden?
Dienstag 15. November 2011, 19 Uhr, Aula
Inviting his own professor from Glasgow, David Harding, to a three-man-show at the Portikus Douglas Gordon initiates his new professor ship at the Städelschule. For about ten years Harding has been collaborating with artist and tutor Ross Birell on poetic Videoworks. In this lecture Birell & Harding will talk about their long standing cooperation and they will reflect on the practice of creating film. There will be an emphasis on triggering the discussion of the coming exhibition at Portikus which will be opening two days later.
Die Veranstaltung findet in englischer Sprache statt.
Ross Birrell / David Harding: You like this Garden?
Dienstag 15. November 2011, 19 Uhr, Aula
Inviting his own professor from Glasgow, David Harding, to a three-man-show at the Portikus Douglas Gordon initiates his new professor ship at the Städelschule. For about ten years Harding has been collaborating with artist and tutor Ross Birell on poetic Videoworks. In this lecture Birell & Harding will talk about their long standing cooperation and they will reflect on the practice of creating film. There will be an emphasis on triggering the discussion of the coming exhibition at Portikus which will be opening two days later.
Die Veranstaltung findet in englischer Sprache statt.
Consume
Bar
Consume
Montag, 14. November 2011, 19 Uhr, Lichthalle
Consume is an improvised mobile bar that has no fixed time, location or staff. It may generally be found by word of mouth and operates primarily in the public space, sometimes tied into an art event and at other times by appropriating a part of the city for its own purposes.
The serial Consume bar was initiated in early November 1991 by three architecture students of the Frankfurt Städelschule, Jim Dudley, Christian Pantzer and Tony Hunt, primarily to provide a locus for interaction between the disciplines of art and architecture.
The hardware of the bar, standing as a metaphor for architecture, consists of a Bricolage of junk, essentially an old surfboard which is balanced on crates of beer. As the bar is mobile, at times even self-propelled, the locations become part of software along with the customers with their various alcoholic and musical lubrications.
The classical hierarchy of architecture in relation to its users and location, or Genius Loci, is turned around so that the ultimate shaper is no longer the architect but the throng of the customers themselves. This has been known to be rather unsettling, but we persist.
Christian Pantzer, *1962, Studium an der HfBK Städelschule-
Architekturklasse 1989 - 1993, lebt und arbeitet in Frankfurt.
Tony Hunt, *1964, Studium an der Univeristy of Brighton 1985 - 1988, UCL Bartlett School of Architecture London 1989-1991, HfBK Städelschule Architekturklasse 1991 - 1993, lebt und arbeitet in Frankfurt und London.
Daniel Kohl, *1967, Studium der Bildenden Kunst an der Cooper
Union in New York City 1986 - 1991 und an der HfBK Städelschule 1992 - 1997 bei Thomas Bayrle, lebt und arbeitet in Frankfurt.
James Dudley *1966, Born in Tooting South London. Studied at Bath University, Bartlett school of Architecture, University College London and Stadelschul Architekturklasse 1991-92. Lives and Works in Zurich as a creative director for spatial communication.
Consume
Montag, 14. November 2011, 19 Uhr, Lichthalle
Consume is an improvised mobile bar that has no fixed time, location or staff. It may generally be found by word of mouth and operates primarily in the public space, sometimes tied into an art event and at other times by appropriating a part of the city for its own purposes.
The serial Consume bar was initiated in early November 1991 by three architecture students of the Frankfurt Städelschule, Jim Dudley, Christian Pantzer and Tony Hunt, primarily to provide a locus for interaction between the disciplines of art and architecture.
The hardware of the bar, standing as a metaphor for architecture, consists of a Bricolage of junk, essentially an old surfboard which is balanced on crates of beer. As the bar is mobile, at times even self-propelled, the locations become part of software along with the customers with their various alcoholic and musical lubrications.
The classical hierarchy of architecture in relation to its users and location, or Genius Loci, is turned around so that the ultimate shaper is no longer the architect but the throng of the customers themselves. This has been known to be rather unsettling, but we persist.
Christian Pantzer, *1962, Studium an der HfBK Städelschule-
Architekturklasse 1989 - 1993, lebt und arbeitet in Frankfurt.
Tony Hunt, *1964, Studium an der Univeristy of Brighton 1985 - 1988, UCL Bartlett School of Architecture London 1989-1991, HfBK Städelschule Architekturklasse 1991 - 1993, lebt und arbeitet in Frankfurt und London.
Daniel Kohl, *1967, Studium der Bildenden Kunst an der Cooper
Union in New York City 1986 - 1991 und an der HfBK Städelschule 1992 - 1997 bei Thomas Bayrle, lebt und arbeitet in Frankfurt.
James Dudley *1966, Born in Tooting South London. Studied at Bath University, Bartlett school of Architecture, University College London and Stadelschul Architekturklasse 1991-92. Lives and Works in Zurich as a creative director for spatial communication.
Donnerstag, 27. Oktober 2011
TARYN SIMON
1. November 19 Uhr Aula
TARYN SIMON
A Living Man Declared Dead and Other Chapters, I – XVIII
Contraband
An American Index of the Hidden and Unfamiliar
The Innocents
Taryn Simon was born in 1975 in New York, where she lives and works. Her latest work, A Living Man Declared Dead and Other Chapters, on view in 2011 at Tate Modern, London, and Neue Nationalgalerie, Berlin, chronicles 18 bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. In 2011, Simon’s work was also included in the 54th Venice Biennale. Her previous work includes Contraband (2010), an image archive of items detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces integral to America’s foundation, mythology, or daily functioning but inaccessible or unknown to a public audience; and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice.
TARYN SIMON
A Living Man Declared Dead and Other Chapters, I – XVIII
Contraband
An American Index of the Hidden and Unfamiliar
The Innocents
Taryn Simon was born in 1975 in New York, where she lives and works. Her latest work, A Living Man Declared Dead and Other Chapters, on view in 2011 at Tate Modern, London, and Neue Nationalgalerie, Berlin, chronicles 18 bloodlines and their related stories. In each of the eighteen ‘chapters’ that make up the work, the external forces of territory, power, circumstance or religion collide with the internal forces of psychological and physical inheritance. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein’s son Uday, and the living dead in India. In 2011, Simon’s work was also included in the 54th Venice Biennale. Her previous work includes Contraband (2010), an image archive of items detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces integral to America’s foundation, mythology, or daily functioning but inaccessible or unknown to a public audience; and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice.
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