Performance
Nora Schultz
Freitag, 13. Juli 2012, 19 Uhr, Portikus
Nora Schultz’s show is the first solo exhibition to occupy the lower as well as the temporary upper floor at Portikus. She uses the duality within the space to develop parallel production cycles composed of sculptural sound works and printing installations that repeatedly intersect over the course of the show. Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible.
For the second time since the opening of the exhibition, Nora Schultz will present a performance. She activates the "Portikus Printing Plant" in order to produce additional prints to be displayed in a new exhibition layout. The exhibition continues to change and evolve during its course, which further underlines the artist's interest in visualizing production processes.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Montag, 9. Juli 2012
Alejandro Zaera-Polo
Dean´s Honorary Lecture
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Städelschule Architecture Class (SAC)
Alejandro Zaera-Polo: Envelopes
Donnerstag, 12. Juli 2012, 19 Uhr, Deutsches Architekturmuseum
The Dean's Honorary Lecture 2012 is given by Alejandro Zaera-Polo, Professor and Dean of Princeton University School of Architecture. Zaera-Polo came to international prominence in 2002 with the completion of the Yokohama Ferry Port Terminal. Since, while being at Foreign Office Architects, and, of recently, since founding Alejandro Zaera-Polo Architecture (AZPA), his work includes projects, such as, Birmingham New Street Redevelopment, Birmingham UK (2007-), BioPol Science Centre in Barcelona, Spain (2011-), Ravensbourne college on the Greenwich Peninsula, London (2005-) and many more. Zaera-Polo has had a prolific theoretical output. Experience with practice has turned his theoretical interest from a materialist critique of architecture to more practical concerns, such as a various forms of production that affects the practice of architecture. This includes looking to globalisation, information technology and organisational structures as well as iconography and representation in the cultural and political role of architecture. His theoretical work has been widely published and includes the book, Phylogenesis: foa’s ark, Actar, Barcelona (2003). The practical and theoretical speculations and experience have been exercised in teaching at schools, such as, Yale University School of Architecture, Princeton University School of Architecture, the AA in London - where he was unit master for eight years, and the Berlage Institute in Rotterdam - where he was the dean from 2002-5. This spring, he was elected Dean of Princeton University School of Architecture.
Karl Holmqvist
Vortrag
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Karl Holmqvist: Word Text Vortex
Dienstag, 10. Juli 2012, 19 Uhr, Aula
In his upcoming lecture at the Staedelschule, Karl Holmqvist will read excerpts from his new artist's book 'K which has just been recently published, while further attempting to establish possible links between writing and contemporary art. With a view of spoken word as performance, and a type of 'invisible visual arts' where the images are made up inside the listeners' minds, Karl Holmqvist will use techniques such as quotations of more or less familiar sources, repetition and ambiguity of meaning in order to point to the wide range of language's reach. All art can be said to be an act of communication–and of communion, tracing it back to its semi-ritualistic roots.
Karl Holmqvist has lectured, performed and exhibited since the early nineties, most recently with Kunsthalle Zurich and Bergen Kunsthall who are the joint publishers of his artist's book 'K together with JRP-Ringier. Last year Karl Holmqvist´s work was shown at the IllumiNations section of the 54th Venice Biennial (curated by Bice Curiger). This spring he was included in the Ecstatic Alphabets-Heaps Of Language exhibition at the Museum of Modern Art in New York and in a oneperson exhibition Words Are People at Alex Zachary Peter Currie also in New York.
Dienstag, 3. Juli 2012
Renzo Martens
Vortrag
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Renzo Martens: On the Institute for Human Activities
Mittwoch, 4. Juli 2012, 19 Uhr Aula
In the transfer of critical art from a zone of intervention to a zone of reception, a gap seems to arise. This gap seems to be very similar to the division between labor and profit in other globalized industries. Art may expose the need for change in Nigeria or Peru, but in the end it brings opportunity, beauty, and real estate value to Berlin-Mitte, or Chelsea and the Lower East Side in New York.
Eight hundred kilometers upstream from Kinshasa, on the river Congo, the Institute for Human Activities mobilizes the modalities of art production and launches a five-year Gentrification Program.
Renzo Martens is an artist who lives in Brussels. His work was shown at Tate Modern, The Berlin Biennial, Stedelijk Museum, Van Abbemuseum, as well as on TV.
Helmut Krausser
Vortrag
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Helmut Krausser: Für kurze Zeit unsterblich - Aufstieg und Fall des Alberto Franchetti
Dienstag, 3. Juli 2012, 19 Uhr Aula
Wie konnte es geschehen, daß der einstige größte Rivale Puccinis, der immerhin drei Welterfolge verbuchen konnte, so beinahe komplett aus dem Gedächtnis der Menschheit gelöscht war, bevor die Deutsche Oper Berlin im Jahr 2006 die "Germania" des Komponisten Franchetti auf die Bühne brachte. Wie konnte es geschehen, daß diese großartige Musik von vielen Kritikern mit Hohn und Spott bedacht wurde, als müsse man dem Juden Franchetti zum zweiten Mal Aufführungsverbot erteilen? Und auf welche Schwierigkeiten stößt man, wenn man es sich in den Kopf gesetzt hat, zusammen mit ein paar wenigen Mitstreitern, dieses Unrecht zu revidieren? Um diese Fragen dreht sich mein Vortrag, der in der Sache auch für jene interessant werden dürfte, die mit klassischer Musik nicht viel am Hut haben.
Helmut Krausser, Jahrgang 1964, lebt in Potsdam und Rom. Bekannt wurde er als Romancier, Lyriker und Dramatiker. Mit über fünfzig Büchern gilt er als produktivster Autor seiner Generation. Zwei seiner Romane wurden verfilmt. Er engagiert sich stark für die Wiederentdeckung des von den Faschisten verfemten Komponisten Alberto Franchetti.
Die Veranstaltung findet in deutscher Sprache statt.
Simon Denny: Information Design Attempts
-->
Scroll down for German version!
Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
/
Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Scroll down for German version!
Simulation, Adaption, Illusion und Pose
Lecture series of the Hessischen Theaterakademie in the realm of Festival der jungen Talente!
Thursday, July 5, 2012, 7 pm, Simon Denny, Information Design Attempts, (in English)
Location: Hochschule für Musik und Darstellende Kunst, room A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
In his installations Simon Denny has worked with the relics and ruins of past media formats - for example, the development from box-shaped monitors to the contemporary LCD monitors and the aesthetics and forms which arose out of the use of these instruments - some of which have long since become obsolete. In his publication „Envisaging Vocational Rehabilitation” published this spring he underlined the effects and sometimes inflationary and function-negating use of design-tools may have. In his lecture at Hessische Theaterakademie he will present his way of working which could be seen to be based on a quasi-archeological approach to the objects, instruments and reality of media, which seem to always be directed towards the future.
Simon Denny is a visual artist and lives in Berlin. In addition to group exhibitions at Kunsthaus Bregenz, Kunstwerke Berlin (both 2011), Malmö Konsthall, Witte de With, Rotterdam (both 2010) and at Sydney Biennale 2008, he presented group exhibitions at Aspen Art Museum (2012), at Aachener Kunstverein (2011) and Halle für Kunst Lüneburg (2010). Beyond that he developed the settings for overview exhibitions at ICA London (2012) and Kölnischer Kunstverein (2010). Simon Denny is being represented by Michael Lett, Auckland, Galerie Daniel Buchholz, Köln and Berlin, and Friedrich Petzel Gallery, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
/
Simulation, Adaption, Illusion und Pose
Ringvorlesung der Hessischen Theaterakademie zum Festival der jungen Talente!
Donnerstag, 5.7.2012, 19 Uhr, Simon Denny, Information Design Attempts, (Vortrag in englischer Sprache)
Ort: Hochschule für Musik und Darstellende Kunst, Raum A 208
D-60322 Frankfurt am Main
http://www.hessische-theaterakademie.de/
Simon Denny beschäftigt sich in seinen Installationen mit den Relikten und Ruinen vergangener Medienutopien, beispielsweise mit der Entwicklung vom Kasten- zum Flachbildmonitor und Ästhetik und Formen, die aus dem Gebrauch dieser Apparate hervorgegangen, von denen einige aber längst obsolet geworden sind. In seiner im Frühjahr veröffentlichten Publikation „Envisaging Vocational Rehabilitation” demonstriert er, welche Blüten der inflationäre und Funktionalität negierende Gebrauch von Designtools treiben kann. In der Ringvorlesung der Hessischen Theaterakademie stellt er seine Arbeitsweise vor, von der man meinen könnte, sie beruhe auf einer nahezu archäologischen Annäherung an eine mediale, scheinbar stets auf eine Zukunft ausgerichtete Wirklichkeit, ihre Apparaturen und Objekte.
Simon Denny ist bildender Künstler und lebt in Berlin. Neben Gruppenausstellungen im Kunsthaus Bregenz, in den Kunstwerken Berlin (beide 2011), in der Malmö Konsthall, bei Witte de With in Rotterdam (beide 2010) und bei der Sydney Biennale 2008, präsentierte er Einzelausstellungen im Aspen Art Museum (2012) im Aachener Kunstverein (2011) und in der Halle für Kunst Lüneburg (2010). Darüber hinaus hat er für Übersichtsausstellungen am ICA London (2012) und im Kölnischen Kunstverein (2010) das Ausstellungssetting entwickelt. Simon Denny wird vertreten durch die Galerien Michael Lett, Auckland, Daniel Buchholz, Köln und Berlin, und Friedrich Petzel, New York.
www.hessische-theaterakademie.de
www.festivaljungertalente.de
Freitag, 15. Juni 2012
Peter Cook
Vortrag
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Peter Cook: Peter Cook and CRAB
Donnerstag, 21.06.2012, 19h, Aula
Sir Peter Cook is a world-renowned English architect, writer and educator. He was the Dean of the Architecture School at the Staedelschule, in the 1980s, injecting the programme with much of the experimental and international flavor that SAC stands for today. Cook, a pivotal figure within the global architecture world for over half a century, has been Director of the Institute of Contemporary Arts, Chair of Architecture at the Bartlett School of UCL and is Royal Academy of Arts Professor of Architecture, amongst other things.
Sir Cook is the director of CRAB Studio, formed in 2006. Since its inception CRAB has won competitions for the Verbania Theatre in Piedmont, Italy; the Law School of the Vienna Economics University and the School of Architecture building for Bond University in Queensland, Australia, amongst numerous other prizes including three versions of the Taiwan Tower in Taichung. CRAB studio is closely associated with the Bartlett and Architectural Association in London, ESA in Paris, Lund University in Sweden, and SCI-Arc in Los Angeles.
Sir Cook is a founding member of the 1960s radical experimentalist group Archigram having previously graduated from the AA. His achievements with Archigram have been the subject of numerous publications and public exhibitions and were recognized by the Royal Institute of British Architects in 2004, when Cook was awarded RIBA’s highest award, the Royal Gold Medal. In 2007, he was knighted. He has previously won the competitions for the Monte Carlo Entertainments Centre (with Archigram), the Historical Museum and Park in Bad Deutsches Altenburg, Lower Austria (with Christine Hawley) and the much-published Kunsthaus Graz (with Colin Fournier) completed in 2003.
Marc Camille Chaimowicz
Vortrag
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
Marc Camille Chaimowicz: Le Parc; An Illustrated Text for Two Voices
Mittwoch, 20. Juni 2012, 19 Uhr, Aula
Initially realised as the second chapter of the artist’s book Café du Reve (published in 1985), this visual and spoken performance comprises a narrative read by one male and one female voice accompanied by 26 black and white slides.
Marc Camille Chaimowicz established himself in the 1970s with his evocative installations and performances. His installations have often included the artist’s photographs and his prototypes for fabrics, wallpaper and ceramics, as well as found objects and artworks by others. His work combines a sensitivity to the personal and the everyday with a highly developed sense of theatre and lifestyle. (ica.org)
Dienstag, 12. Juni 2012
Michael Riedel
Vortrag
Michael Riedel: 8 Kunst & Publikation
Dienstag, 12. Juni 2012, 19 Uhr, Aula
... ich spreche über meine Publikationen aus den Jahren 97 bis 2010 der Vortrag dauert fünfundvierzig Minuten das sind etwa dreihundertsiebzig Bilder die ich zeigen werde davon sind sechzig schwarz eine meiner ersten Publikationen 1997 war eine Papiertüte auf die ich meinen Namen geschrieben hatte sie ist entstanden anlässlich eines Vortrags den ich gehalten habe an der Städelschule während meines Studiums in dem Vortrag ging es um Möglichkeiten Entdecke die Möglichkeiten hieß es damals bei Ikea oder auch Das Leben ist voller Möglichkeiten Audi und Nichts ist unmöglich Toyota und mit zunehmendem Maße ging es um die Möglichkeit an sich und der Existenz die an der Möglichkeit zu existieren scheitert so hieß es zumindest damals im Vortrag und der Vortrag endet damit dass ich mir diese Tüte aufsetze und sage ich bin Michael Riedel Beschriftung ist immer etwas von außen angebrachtes und in diesem Fall bin ich derjenige der außen steht und sich selbst beschriftet mit anderen Worten ich bin nicht mehr nur der Künstler der Kunst macht sondern vielmehr auch der Künstler der sich beim Kunst machen zuschaut und das als Kunst versteht damit verschiebt sich auch die Position des Betrachters der jetzt zuschauen muss wie der Künstler sich selbst zuschaut beim Machen ... Auszug aus dem Text "Publikation" (veröffentlicht in "Perlstein" – Michael Riedel, Koenig Books London, 2011)
Michael Riedel is known for his conceptual practice of restaging prior events and re-presenting existing texts, objects and audio recordings. Over the past decade, the artist's highly conceptual practice has embodied a wide range of mediums and formats, including large-scale works on canvas, fabric works, film and video, audio recordings, artist's books, posters, installations and events.
Michael Riedel: 8 Kunst & Publikation
Dienstag, 12. Juni 2012, 19 Uhr, Aula
... ich spreche über meine Publikationen aus den Jahren 97 bis 2010 der Vortrag dauert fünfundvierzig Minuten das sind etwa dreihundertsiebzig Bilder die ich zeigen werde davon sind sechzig schwarz eine meiner ersten Publikationen 1997 war eine Papiertüte auf die ich meinen Namen geschrieben hatte sie ist entstanden anlässlich eines Vortrags den ich gehalten habe an der Städelschule während meines Studiums in dem Vortrag ging es um Möglichkeiten Entdecke die Möglichkeiten hieß es damals bei Ikea oder auch Das Leben ist voller Möglichkeiten Audi und Nichts ist unmöglich Toyota und mit zunehmendem Maße ging es um die Möglichkeit an sich und der Existenz die an der Möglichkeit zu existieren scheitert so hieß es zumindest damals im Vortrag und der Vortrag endet damit dass ich mir diese Tüte aufsetze und sage ich bin Michael Riedel Beschriftung ist immer etwas von außen angebrachtes und in diesem Fall bin ich derjenige der außen steht und sich selbst beschriftet mit anderen Worten ich bin nicht mehr nur der Künstler der Kunst macht sondern vielmehr auch der Künstler der sich beim Kunst machen zuschaut und das als Kunst versteht damit verschiebt sich auch die Position des Betrachters der jetzt zuschauen muss wie der Künstler sich selbst zuschaut beim Machen ... Auszug aus dem Text "Publikation" (veröffentlicht in "Perlstein" – Michael Riedel, Koenig Books London, 2011)
Michael Riedel is known for his conceptual practice of restaging prior events and re-presenting existing texts, objects and audio recordings. Over the past decade, the artist's highly conceptual practice has embodied a wide range of mediums and formats, including large-scale works on canvas, fabric works, film and video, audio recordings, artist's books, posters, installations and events.
Montag, 4. Juni 2012
Nairy Baghramian
Vortrag
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Nairy Baghramian: Le Mépris. A talk without image-objects
Dienstag, 5. Juni 2012, 19 Uhr, Aula
“....If the idealizing view of the idea of a work’s autonomy effectively renders that work a subject in its own right, the structures surrounding the work of art—of which we, as beholders, are part—come under threat; we are as though under the work’s spell, responding to it like schizophrenics. At the same time, there is the danger that the art critic comes to believe that it is enough to negotiate matters in intimate exchange with the work alone: now it speaks for itself, now it is part of his or her concept: the work of art becomes a projection screen that talks back. This is necessary but should only be a starting point. ..“
Nairy Baghramian is a Berlin-based artist known for her sculptural installations and photographs. Selected solo exhibitions include: Formage de tête, Galerie Buchholz, Berlin (2011); The Serpentine Gallery, London (2010); Butcher, Barber, Angler & others, Studio Voltaire, London (2009); The Walker’s Day Off, Staatliche Kunsthalle Baden-Baden (2008), Affairen. Ein semiotisches Haus, das nie gebaut wurde, Neuer Aachener Kunstverein (2008); Es ist ausser Haus, Kunsthalle Basel (2006). She has also taken part in numerous group exhibitions at Biennale di Venezia, Venice (2011); Stedelijk Museum, Amsterdam (2011); Musée d’art contemporain de Montréal, Montréal (2010); Museum Ludwig, Köln (2010); Tate Modern, London (2008) and at Neue Nationalgalerie, Berlin (2008).
Mittwoch, 30. Mai 2012
Can Altay
Lecture
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Can Altay: Inhabitants, Settings, Collectivities
Thursday, 31. May 2012, 19.00 , Aula
Can Altay is an artist living in Istanbul whose practice traverses the fields of architecture, art, design and social commentary. Often taking the form of research projects or mixed-media installations, his work explores and delineates individuals’ relationship with their urban environments. Trained as as an architect, Altay studies improvise spaces in the city, as well as hidden structures of support, unauthorised systems of organisation and models of co-habitation.
Altay's recent solo exhibitions include: ‘COHAB: an assembly of spare parts’, Casco, Utrecht (2011); ‘The Church Street Partners’ Gazette’, The Showroom, London (2010) and ‘Setting a Setting / Forecasting a Broken Past’, Künstlerhaus Bethanien, Berlin (2008). Recent group exhibitions include: Taipei Biennial, Taiwan (2010). His work has been included in the Istanbul Biennial 2008; Havana Biennial 2003 and Gwangju Biennial 2008; and in museums and galleries such as the Walker Art Center (USA), VanAbbe Museum (Netherlands), ZKM (Germany), PS1 MoMA (USA), and Platform Garanti (Turkey). He is a co-founder of art, design and publishing collective Diplomacy in Reflex, editor of Ahali: A Journal for Setting a Setting and was a co-curator of the 'Refuge' section of the 4th Architecture Biennial of Rotterdam in 2009.
Altay holds a doctoral degree and is assistant professor at the Istanbul Bilgi University, Faculty of Architecture.
Nora Schultz
Lecture
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Nora Schultz
Wednesday, 30. May 2012, 19.00, Aula
Nora Schultz’s work examines the genesis of pictorial representation and production as an artistic dynamic. She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind. The actualities of production accordingly play a central role in her prints, printing machines, installations, and performances; process always remains legible. Nora Schultz talks about her practice and her upcoming exhibition at Portikus.
Nora Schultz (1975) was born in Frankfurt and lives in Berlin. From 1998 to 2005, she was studying at the Städelschule with Christa Näher and then in the class of Mark Leckey. 2011 she was awarded the scholarship Villa Romana in Florence. Some exhibitions: Ecstatic Alphabets/Heaps of Language, MoMA; Flaca/Tom Humphreys, Portikus (2011); Non-Solo Show, Non-group Show, Kunsthalle Zürich; Nora Schultz, Reena Spaulings (2008); The Metal Magazine, Galerie Meerrettich (2006).
Montag, 21. Mai 2012
Carsten Nicolai
Vortrag
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Carsten Nicolai: Display
Mittwoch, 23. Mai 2012, 19 Uhr, Aula
Born 1965 in Karl-Marx-Stadt, Carsten Nicolai is a visual artist, composer and musician who lives and works in Berlin and Chemnitz. As a visual artist mainly creating objects and installations, Nicolai seeks to overcome the separation of the art forms and genres to sensitize human perception to the interconnection of the different sensory levels.
Nicolai received numerous prizes and stipends, such as Villa Massimo, Rome (2007), Zurich Prize, Basle (2007), Villa Aurora, Los Angeles (2003), Golden Nica, Ars Electronica, Linz (2000 und 2001), F6-Philip Morris Graphik-Preis, Dresden (2000). His works have been shown at national and international major. As well his works have been acquired by several private and public collections worldwide.
For some years now, Nicolai has released albums under the pseudonyms noto and alva noto which he has presented at live shows in national and international concert halls, clubs and museums. He has cooperated with renowned composers and musician including Ryuichi Sakamoto, Blixa Bargeld, Ryoji Ikeda, Michael Nyman, Mika Vainio, Olaf Bender + Frank Bretschneider (signal), as well as with diverse orchestras for modern music, such as Ensemble Modern, BCN 216 and zeitkratzer.
Carsten Nicolai will be speaking about his most recent works.
Suhail Malik
Vortrag
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Suhail Malik: The Ruling Elite Have Feelings too
Dienstag, 22. Mai 2012, 19 Uhr, Aula
How do the wealthy as a governing class continue to maintain and enhance their social and political legitimacy through this economic and culture crisis? One strategy: asserting the language and belief in individual merit, personal worth, and autonomy from collective determination, the ruling elite position themselves on the side of the just. Yet exactly this configuration of claims is no less the central to the critical tenets of contemporary art.
Mobilized through an appreciation and support of contemporary art, wealth power is then not only justified because it supports a social good (art in its politically progressive claims) but is moreover itself just according to the values heralded in contemporary art and its generic claims. Equally, the celebration of art (and the art system) is a celebration of the progressiveness of the ruling elites. Contemporary art is not in a forced marriage with the ruling elites and perhaps not even one of mutual convenience, but one of true mutual love (of art).
Suhail Malik is a writer and holds a Readership in Critical Studies at Goldsmiths, London. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012), “Just When You Thought It Was Safe to Participate Again - Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation (2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute, 2010; “You Are Here” for Manifesta 8 (2010).
In cooperation with the Curatorial and Critical Studies program.
Dienstag, 15. Mai 2012
Gayatri Spivak
Vortrag
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Gayatri Spivak: Art and the Ethical
Mittwoch, 16. Mai 2012, 20 Uhr, Aula
Is "art" free? What is it for Art to claim the ethical?
While she is best known as a postcolonial theorist (among others by her groundbreaking text "Can the Subaltern Speak?"), Gayatri Spivak describes herself as a "para-disciplinary, ethical philosopher". Her reputation was first made for her translation and preface to Derrida's Of Grammatology (1976) and she has since applied deconstructive strategies to various theoretical engagements and textual analyses: from Feminism, Marxism, and Literary Criticism to, most recently, Postcolonialism.
„My position is generally a reactive one. I am viewed by Marxists as too codic, by feminists as too male-identified, by indigenous theorists as too committed to Western Theory. I am uneasily pleased about this.“
Gayatri Spivak is University Professor and the Director of the Institute for Comparative Literature and Society at Columbia University in New York. She has taught in numerous academic contexts, among others at the Independent Study program at the Whitney. Her books include Myself Must I Remake: The Life and Poetry of W. B. Yeats (1974), Of Grammatology (translation with critical introduction of Jacques Derrida, De la grammatologie, 1976), In Other Worlds: Essays in Cultural Politics (1987), Selected Subaltern Studies (ed., 1988), The Post-Colonial Critic: Interviews, Strategies, Dialogues (1990), Thinking Academic Freedom in Gendered Post-Coloniality (1993), Outside in the Teaching Machine (1993), Old Women (translation with critical introduction of two stories by Mahasweta Devi, 1999), A Critique of Postcolonial Reason: Towards a History of the Vanishing Present (1999), Death of a Discipline (2003), Other Asias (2005), and most recently An Aesthetic Education in the Era of Globalization (2012).
Montag, 14. Mai 2012
COSIMA VON BONIN AND MORITZ VON OSWALD
Vortrag
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
THE COSIMA VON BONIN AND MORITZ VON OSWALD EVENT IS CANCELLED.
Donnerstag, 17. Mai 2012, 19 Uhr, Aula
Due to circumstances beyond their control Cosima von Bonin and Moritz von Oswald have been compelled to withdraw. We are able, however, at least to present remarks prepared by Cosima von Bonin to be read on the occasion. We hope that this will compensate in some measure for the cancellation.
In lieu of the event we will present the first screening of Cosima von Bonin's 1995 1. Grazer Fächerfest footage---filmed by Ingeborg Gabriel and compiled by Stefan Mohr.
REMARKS BY COSIMA VON BONIN PREPARED FOR THE OCCASION, TO BE READ ALOUD AT THE BEGINNING OF PROCEEDINGS WITH MORITZ VON OSWALD.
I just want to sit here as the technical assistant and best boy of the gentleman next to me.
He does not like to talk any more than I do.
But the motives are different.
From a 2011 interview:
FAZ: How did you, as one of the most influential Techno producers of the ‘nineties—the Techno decade par excellence—manage to maintain no media presence whatsoever?
MvO: My production partner, Mark Ernestus, and I worked on music, and wanted to do that alone. We did not want to take care of other difficult stuff. For me "the interview" is a type of conversation that I still find it difficult to do.
FAZ: So why, then, did you accept this kind of conversation today?
MvO: This is a thing—a matter of practicing to overcome my shyness.
Here he is on his Dub/Club Set:
“The Moritz von Oswald computerized Dub/Club Set is an up-tempo combination of electronic dance tracks channeling dub step and techno tracks with atmospheric relaxed-sounding rhythms.”
He brings research—into the possibilities of sound, sound exploration, sound research—along with him.
I have not brought anything along with me.
On this thing even of “being an artist"? I sometimes think about stopping—very different from him.
That is why I just want to sit here at the table and listen.
Maybe I could assist once in a while, if requested, in passing the microphone to the not-exhausted one.
I feel exhausted.
Regarding my work, I do not want to say much. I would rather evade my responsibility.
Leave it at that I am a thief. I steal from the left side and from the right side. I grab, take everything that could be useful to me, and for my purposes. And I steal others’ time. And all of this very fast. And then, also very fast, the thingy stands there or is mounted on the wall. And then, I am, once again, totally exhausted.
That is The Fatigue Empire.
It started with us two, sitting together.
In a spex interview, Dirk von Lowtzow said, “The Fatigue Empire […] is a reevaluation of social imperatives. To function constantly these days is seen as extremely virtuous. For many the worst thing would be to acknowledge that they are exhausted. Contemporary capitalism demands constant creativity, and that one deal with it, profitably. Not even losers are left in peace—they too should work on themselves continuously, and get involved permanently. The Fatigue Empire represents an opposing model that celebrates exhaustion very open-mindedly, as everybody knows of course.”
To speak to the topic tonight: Moritz von Oswald’s music heard in my exhibitions has the ability to add that excellent touch of “glitter & glamour”, and ghost nuances, because he listens very precisely, and carefully, and with immense perseverance. And he listens to me too. And then he produces the beat, the track, the song. And it’s perfect. And if not, then, he continues to work on it with this perseverance. He conducts research.
I do not.
He is not exhausted afterwards.
I am.
Dienstag, 8. Mai 2012
Superflex
Vortrag
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Superflex
Dienstag, 8. Mai 2012, 19 Uhr, Aula
Superflex is a Danish artist group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. They describe their projects as Tools, as proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. Often the projects are assisted by experts who bring in their special interest, these tools can then be further used and modified by their users.
The projects are related to economic forces, democratic production conditions and self-organisation. The artists have examined alternative energy production methods (Supergas) and commodity production in Brazil, Thailand and Europe, which both expose and question the existing economic structures. These artistic activities — as, for example, the on-going project Guaraná Power, in which they developed a drink together with local farmers who cultivate the caffeine-rich berries of the guarana plant — are not necessarily opposed to commercialism and globalisation, but try instead to render economic structures visible and to establish a new balance.
Superflex has gained international recognition for their projects. They have had solo exhibitions, among others, at the Kunsthalle Basel in Switzerland (Supershow — more than a show), GFZK in Leipzig, Germany (Social Pudding in collaboration with Rirkrit Tiravanija), Schirn Kunsthalle in Frankfurt am Main (Open market), the REDCAT Gallery in Los Angeles (Guarana Power), Mori Museum in Tokyo, Gallery 1301PE in Los Angeles and the Hirshhorn Museum and Sculpture Garden. Superflex has participated in international arts biennials such as the Gwangju biennial in Korea, Istanbul Biennial, Sao Paulo Biennial, Shanghai Biennial and in the "Utopia Station" exhibition at the Venice Biennale. They contributed to the exhibition Rethink Kakotopia shown at the Nikolaj Centre of Contemporary Art in Copenhagen 2009 and at Tensta Konsthall 2010.
Mittwoch, 25. April 2012
African Cinema Series
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.
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.
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).
Abonnieren
Posts (Atom)