Vortrag
Okwui Enwezor: The Discursive Fields of Contemporary Art: Museums and Exhibitions.
Dienstag, 14. Mai 2013, 19 Uhr, Aula
Okwui Enwezor is the director of Haus der Kunst in Munich. He is a curator, an art critic, an editor and a writer. Enwezor’s wide ranging practice spans the world of international exhibitions, museums, academia, and publishing. Enwezor has held academic appointments as Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute (2005-2009); Visiting Professor in the Department of Art History and Architecture at University of Pittsburgh and University of Illinois, Urbana-Champaign, Visiting Professor at the Department of Art History and Archaeology, Columbia University, New York, and Kirk Varnedoe Visiting Professor at Institute of Fine Arts, New York University.
Amongst his numerous curatorial credits, he was Artistic Director of 2nd Johannesburg Biennale (1996-1998), Artistic Director of documenta 11, Kassel, Germany (1998-2002), Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007), Artistic Director of 7th Gwangju Biennale (2008), and Artistic Director of the Paris Triennale (2012). His many exhibitions include The Short Century: Independence and Liberation Movements in Africa, 1945-1994, Museum Villa Stuck, Munich; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea; In/Sight: African Photographers, 1940-Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona; Stan Douglas: Le Detroit, Art Institute of Chicago; Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York; The Unhomely: Phantom Scenes in Global Society, Centro Andaluz de Arte Contemporáneo, Seville, and Archive Fever: Uses of the Document in Contemporary Art, at International Center of Photography, New York. He is also completing work on several projects including: The Rise and Fall of Apartheid and Sun in their Eyes: Photography and the Invention of Africa, 1839-1939, both for International Center of Photography; and 1979-1989: Art and Culture Between Revolutions.
Montag, 13. Mai 2013
Montag, 6. Mai 2013
Claire Fontaine
Vortrag
Claire Fontaine
Mittwoch, 8. Mai 2013, 19 Uhr, Aula
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box - as displaced, deprived of its use value, and exchangeable as the products she makes - there is always the possibility of what she calls the "human strike." Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.
Die Veranstaltung findet in englischer Sprache statt.
Claire Fontaine
Mittwoch, 8. Mai 2013, 19 Uhr, Aula
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box - as displaced, deprived of its use value, and exchangeable as the products she makes - there is always the possibility of what she calls the "human strike." Claire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 29. April 2013
John Knight
Vortrag
John Knight
Dienstag, 30. April 2013, 19 Uhr, Aula
Since the early 1970s Los Angeles-based artist John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists that has consistently addressed the ideological valences of constructed space.
John Knight will speak about a selection of his in-situ projects, his artistic methodology, and the politics and complications inherent in working context-specific.
Knight recently exhibited at EACC Espai d`Art Contemporani de Castelló, Castelló (Spain), Stedelijk Museum Amsterdam (Netherlands), Whitney Museum of American Art (USA) and IAC, Villeurbanne (France).
Die Veranstaltung findet in englischer Sprache statt.
John Knight
Dienstag, 30. April 2013, 19 Uhr, Aula
Since the early 1970s Los Angeles-based artist John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists that has consistently addressed the ideological valences of constructed space.
John Knight will speak about a selection of his in-situ projects, his artistic methodology, and the politics and complications inherent in working context-specific.
Knight recently exhibited at EACC Espai d`Art Contemporani de Castelló, Castelló (Spain), Stedelijk Museum Amsterdam (Netherlands), Whitney Museum of American Art (USA) and IAC, Villeurbanne (France).
Die Veranstaltung findet in englischer Sprache statt.
Montag, 8. April 2013
Julika Rudelius
Vortrag
Julika Rudelius: Intimate Public–Rituals of Capitalism
Mittwoch, 10. April 2013, 19 Uhr, Aula
Julika Rudelius' work explores themes of emotional dependency, politics, abuse, sexuality and power. Her most recent film was made in China. Thinking about intimacy as currency, Rudelius shot young androgynous men in the streets posing seductively amidst traffic - mimicking the commercialized eroticism ingested from advertising and entertainment imagery. Juxtaposed to those images, she also shot in the homes of soap opera stars and wealthy collectors - the dwellings of people that propel the marketing machine, creating the images that the public imitates. Continually exploring the exchange of the intimate for capital, in her film shot in Washington DC, young interns of politicians exchange youth and obedience for the next step up the career ladder; in another young Moroccans look for acceptance in society and the fashion world. As her subjects reveal how they trade-in their intimate lives in front of the camera, the power structures Rudelius explores are not just subject matter - they are imbedded in her filming methodology. During production, Rudelius combines intimate therapy-like sessions with her subjects, realistically built sets designed to estrange, and audio systems which allow her to remote control actors. These themes have led to a conversation with collaborators about how images function and are distributed under capitalism and how this influences image-making and perhaps heightens the importance of narrative over images.
Julika Rudelius' work has been exhibited at the Stedelijk Museum, Amsterdam; ZKM, Karlsruhe; Brooklyn Museum, New York; Tate Modern, London; Centre Pompidou, Paris; and MOCA, North Miami among many others. Her most recent film "Rituals," was exhibited at Rudelius' recent solo show at Leo Koenig Inc., New York and had its European debut at the opening exhibition of the new Stedelijk Museum in Amsterdam, and was also exhibited at Y & C Contemporary in Taipei, Taiwan. She currently lives and works in New York and Amsterdam.
Die Veranstaltung findet in englischer Sprache statt.
Julika Rudelius: Intimate Public–Rituals of Capitalism
Mittwoch, 10. April 2013, 19 Uhr, Aula
Julika Rudelius' work explores themes of emotional dependency, politics, abuse, sexuality and power. Her most recent film was made in China. Thinking about intimacy as currency, Rudelius shot young androgynous men in the streets posing seductively amidst traffic - mimicking the commercialized eroticism ingested from advertising and entertainment imagery. Juxtaposed to those images, she also shot in the homes of soap opera stars and wealthy collectors - the dwellings of people that propel the marketing machine, creating the images that the public imitates. Continually exploring the exchange of the intimate for capital, in her film shot in Washington DC, young interns of politicians exchange youth and obedience for the next step up the career ladder; in another young Moroccans look for acceptance in society and the fashion world. As her subjects reveal how they trade-in their intimate lives in front of the camera, the power structures Rudelius explores are not just subject matter - they are imbedded in her filming methodology. During production, Rudelius combines intimate therapy-like sessions with her subjects, realistically built sets designed to estrange, and audio systems which allow her to remote control actors. These themes have led to a conversation with collaborators about how images function and are distributed under capitalism and how this influences image-making and perhaps heightens the importance of narrative over images.
Julika Rudelius' work has been exhibited at the Stedelijk Museum, Amsterdam; ZKM, Karlsruhe; Brooklyn Museum, New York; Tate Modern, London; Centre Pompidou, Paris; and MOCA, North Miami among many others. Her most recent film "Rituals," was exhibited at Rudelius' recent solo show at Leo Koenig Inc., New York and had its European debut at the opening exhibition of the new Stedelijk Museum in Amsterdam, and was also exhibited at Y & C Contemporary in Taipei, Taiwan. She currently lives and works in New York and Amsterdam.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 7. März 2013
HOME STORIES
Ausstellungseröffnung
HOME STORIES
Donnerstag, 14. März 2013, 19 Uhr
Villa 102 (ehemaliges Literaturhaus), Bockenheimer Landstraße 102, Frankfurt am Main
Bianca Baldi, Khaled Barakeh, Elif Erkan, Mahony, Maki Ishii, Michael Lee, Sathit Sattarasart & Il-Jin Atem Choi, Thabiso Sekgala, Aiko Tezuka, Marie Zolamian
Internationale Künstler – Stipendiaten des Künstlerhauses Bethanien in Berlin und Studierende der Städelschule in Frankfurt – richten die Räume des ersten Obergeschosses der Villa 102 mit ortsspezifischen Arbeiten ein. Der Titel der Ausstellung HOME STORIES verweist sowohl auf die Geschichte und die Geschichten der Villa 102 (ehemaliges Literaturhaus) als auch auf die geografische und kulturelle Verortung künstlerischer Praxis in der globalen Gegenwart.
Begrüßung:
Dr. Ulrich Schröder, Vorstand der KfW Stiftung
Christoph Tannert, Geschäftsführer des Künstlerhauses Bethanien, Berlin
Prof. Nikolaus Hirsch, Rektor der Städelschule
Ausstellungsdauer 15.3. - 28.4.2013
Öffnungszeiten täglich 10-18 Uhr, Eintritt frei.
Öffentliche Führungen mittwochs, 12.30 - 13 Uhr
Um Anmeldung zur Eröffnung bis 11. März 2013 an info@kfw-stiftung.de wird gebeten.
Eine Ausstellung der KfW Stiftung in Kooperation mit dem Künstlerhaus Bethanien Berlin, und der Staatlichen Hochschule für Bildende Künste - Städelschule, Frankfurt am Main
HOME STORIES
Donnerstag, 14. März 2013, 19 Uhr
Villa 102 (ehemaliges Literaturhaus), Bockenheimer Landstraße 102, Frankfurt am Main
Bianca Baldi, Khaled Barakeh, Elif Erkan, Mahony, Maki Ishii, Michael Lee, Sathit Sattarasart & Il-Jin Atem Choi, Thabiso Sekgala, Aiko Tezuka, Marie Zolamian
Internationale Künstler – Stipendiaten des Künstlerhauses Bethanien in Berlin und Studierende der Städelschule in Frankfurt – richten die Räume des ersten Obergeschosses der Villa 102 mit ortsspezifischen Arbeiten ein. Der Titel der Ausstellung HOME STORIES verweist sowohl auf die Geschichte und die Geschichten der Villa 102 (ehemaliges Literaturhaus) als auch auf die geografische und kulturelle Verortung künstlerischer Praxis in der globalen Gegenwart.
Begrüßung:
Dr. Ulrich Schröder, Vorstand der KfW Stiftung
Christoph Tannert, Geschäftsführer des Künstlerhauses Bethanien, Berlin
Prof. Nikolaus Hirsch, Rektor der Städelschule
Ausstellungsdauer 15.3. - 28.4.2013
Öffnungszeiten täglich 10-18 Uhr, Eintritt frei.
Öffentliche Führungen mittwochs, 12.30 - 13 Uhr
Um Anmeldung zur Eröffnung bis 11. März 2013 an info@kfw-stiftung.de wird gebeten.
Eine Ausstellung der KfW Stiftung in Kooperation mit dem Künstlerhaus Bethanien Berlin, und der Staatlichen Hochschule für Bildende Künste - Städelschule, Frankfurt am Main
Dienstag, 5. Februar 2013
Lutz Bacher
Vortrag
Lutz Bacher
Dienstag, 5. Februar 2013, 19 Uhr, Aula
Lutz Bacher’s exhibition at Portikus is the first in a series of three solo shows this year, presenting Bacher’s work to a European audience in the most encompassing way to date (Portikus, ICA London, Kunsthalle Zürich). Lutz Bacher, who lives between Berkeley and New York City, occupies an important position in contemporary artistic practice. As an artist whose age and gender have been occluded for over four decades, her work becomes as much a refuge as a vehicle to respond liberally to the urgency of political and social conditions, especially in her native America. The imagery, objects and physical spaces Lutz Bacher creates are informed by studies of ignorant and oftentimes violent human conduct such as physical abuse, treason, and complacency.
Lutz Bacher's talk will be in the format of a video presentation. She will show a 12 minute video conversation between her and New York gallerist Alex Zachary and Peter Currie in which a number of older works are discussed, along with a slideshow of other works.
Die Veranstaltung findet in englischer Sprache statt.
Lutz Bacher
Dienstag, 5. Februar 2013, 19 Uhr, Aula
Lutz Bacher’s exhibition at Portikus is the first in a series of three solo shows this year, presenting Bacher’s work to a European audience in the most encompassing way to date (Portikus, ICA London, Kunsthalle Zürich). Lutz Bacher, who lives between Berkeley and New York City, occupies an important position in contemporary artistic practice. As an artist whose age and gender have been occluded for over four decades, her work becomes as much a refuge as a vehicle to respond liberally to the urgency of political and social conditions, especially in her native America. The imagery, objects and physical spaces Lutz Bacher creates are informed by studies of ignorant and oftentimes violent human conduct such as physical abuse, treason, and complacency.
Lutz Bacher's talk will be in the format of a video presentation. She will show a 12 minute video conversation between her and New York gallerist Alex Zachary and Peter Currie in which a number of older works are discussed, along with a slideshow of other works.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 31. Januar 2013
Carsten Höller & Daniel Birnbaum
Vortrag
Carsten Höller & Daniel Birnbaum
Donnerstag, 31. Januar 2013, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Das Werk des in Schweden lebenden Künstlers Carsten Höller zählt mit seinen Installationen, Skulpturen, Videos, Zeichnungen und Fotografien zu den bedeutendsten Positionen der Gegenwart. In Höller’s Arbeiten fließen immer wieder wissenschaftliche Ansätze ein, die unter anderem auf sein Studium in Agrarwissenschaften und seine Habilitation in Phytopathologie (Lehre der Pflanzenkrankheiten) zurückzuführen sind. In seinen Ausstellungen ließ Höller beispielsweise das Museum Hamburger Bahnhof mit Rentieren beleben, brachte gigantische Rutschbahnen an der Tate Modern in London an und verwandelte in 2011 die drei Etagen des New Yorker New Museum in Forscherlabore zu seinen Arbeiten aus den vergangenen 18 Jahren. In der Sammlung des MMK ist Carsten Höller mit den Werken „220 Volt“ (1992) sowie „Lichtwand“ (2002) vertreten.
Daniel Birnbaum, in Stockholm geboren, studierte an der Universität Stockholm, der Freien Universität Berlin und der Columbia University New York Kunstgeschichte, Literaturwissenschaft und Philosophie. Neben Beiträgen in internationalen Kunstzeitschriften wie „Artforum“ und „Frieze“ verfasste er zahlreiche wissenschaftliche Arbeiten. Von 2000 bis 2010 war er Rektor der Städelschule Frankfurt. Neben seiner kuratorischen Mitwirkung an zahlreichen Biennalen leitete er 2009 zusammen mit dem Co-Direktor Jochen Volz die 53. Biennale von Venedig. Seit 2011 ist er Direktor des Moderna Museet in Stockholm.
Carsten Höller und Daniel Birnbaum – beide wohnhaft in Stockholm – die sich beruflich wie privat schon seit vielen Jahren kennen, treffen im Rahmen der MMK Talks erstmals in einem öffentlichen Gespräch aufeinander.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Carsten Höller & Daniel Birnbaum
Donnerstag, 31. Januar 2013, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Das Werk des in Schweden lebenden Künstlers Carsten Höller zählt mit seinen Installationen, Skulpturen, Videos, Zeichnungen und Fotografien zu den bedeutendsten Positionen der Gegenwart. In Höller’s Arbeiten fließen immer wieder wissenschaftliche Ansätze ein, die unter anderem auf sein Studium in Agrarwissenschaften und seine Habilitation in Phytopathologie (Lehre der Pflanzenkrankheiten) zurückzuführen sind. In seinen Ausstellungen ließ Höller beispielsweise das Museum Hamburger Bahnhof mit Rentieren beleben, brachte gigantische Rutschbahnen an der Tate Modern in London an und verwandelte in 2011 die drei Etagen des New Yorker New Museum in Forscherlabore zu seinen Arbeiten aus den vergangenen 18 Jahren. In der Sammlung des MMK ist Carsten Höller mit den Werken „220 Volt“ (1992) sowie „Lichtwand“ (2002) vertreten.
Daniel Birnbaum, in Stockholm geboren, studierte an der Universität Stockholm, der Freien Universität Berlin und der Columbia University New York Kunstgeschichte, Literaturwissenschaft und Philosophie. Neben Beiträgen in internationalen Kunstzeitschriften wie „Artforum“ und „Frieze“ verfasste er zahlreiche wissenschaftliche Arbeiten. Von 2000 bis 2010 war er Rektor der Städelschule Frankfurt. Neben seiner kuratorischen Mitwirkung an zahlreichen Biennalen leitete er 2009 zusammen mit dem Co-Direktor Jochen Volz die 53. Biennale von Venedig. Seit 2011 ist er Direktor des Moderna Museet in Stockholm.
Carsten Höller und Daniel Birnbaum – beide wohnhaft in Stockholm – die sich beruflich wie privat schon seit vielen Jahren kennen, treffen im Rahmen der MMK Talks erstmals in einem öffentlichen Gespräch aufeinander.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Montag, 21. Januar 2013
Juan A. Gaitán
Vortrag
Juan A. Gaitán: A System of Reports
Mittwoch, 23. Januar 2013, 19 Uhr, Aula
Juan A. Gaitán, the curator of the coming Berlin Biennale will begin his lecture-presentation by contextualizing the recent history of the Berlin Biennale, its international relevance and comprehensive impact on the cultural life of Berlin. Further, elaborating on its 8th edition to be held in Spring 2014, he will introduce the beginnings of his curatorial research as well as the artistic team he has invited. In his edition, Gaitán seeks to treat Berlin as a subjective microcosm, tracing its globality and mercantile linkages in the late 19th – early 20th centuries as well as its journey from empire to nation-state. The circulating figures within the formation of Modernity will be interrogated through the contributions of individuals such as Alexander von Humboldt and his scientific explorations across the Americas.
Gaitán (Canada/Colombia), born 1973, is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. He presently is curator of the 8th Berlin Biennale for Contemporary Art, 2014
His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
Juan A. Gaitán: A System of Reports
Mittwoch, 23. Januar 2013, 19 Uhr, Aula
Juan A. Gaitán, the curator of the coming Berlin Biennale will begin his lecture-presentation by contextualizing the recent history of the Berlin Biennale, its international relevance and comprehensive impact on the cultural life of Berlin. Further, elaborating on its 8th edition to be held in Spring 2014, he will introduce the beginnings of his curatorial research as well as the artistic team he has invited. In his edition, Gaitán seeks to treat Berlin as a subjective microcosm, tracing its globality and mercantile linkages in the late 19th – early 20th centuries as well as its journey from empire to nation-state. The circulating figures within the formation of Modernity will be interrogated through the contributions of individuals such as Alexander von Humboldt and his scientific explorations across the Americas.
Gaitán (Canada/Colombia), born 1973, is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. He presently is curator of the 8th Berlin Biennale for Contemporary Art, 2014
His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
Dorothea von Hantelmann
Vortrag
Dorothea von Hantelmann: Economies of Attention: Regimes of Time in Exhibitions
Dienstag, 22. Januar 2013, 19 Uhr, Aula
In the early days of public museums, opening hours were a highly debated issue. This was not just because questions such as whether or not museums should be open on Sundays pointed to the extent to which the museum realized its ideal of unlimited public accessibility. This debate also occured because the invention of a cultural ritual based on an open temporal frame with no fixed beginning or end marked the museum as a liberal ritual; a ritual that, unlike the fixed time format of theatre, allowed individualized and flexibilised forms of usage. Although the museum can host thousands of people a day, it – contrary to theatre or film – still constitutes a flexible ritual par excellence. In that sense, it is a distinctively modern ritual that corresponds to a modern, individualized sensitivity.
The lecture will reflect on the aesthetic and cultural significance of these phenomena in light of the history and current social function of art museums. By relating them to sociological approaches such as the theory of weak ties, it will throw a particular light on the respective economies of attention that are at stake in exhibitions today
Dorothea von Hantelmann, born 1969 in Hamburg, lives in Berlin. She teaches Art History at the Freie Universität Berlin and works at the Collaborative Research Centre on “Aesthetic Experience and the Dissolution of Artistic Limits.” Among her recent publications are How to Do Things with Art: The Meaning of Art’s Performativity (2010) and Die Ausstellung. Politik eines Rituals (ed. with C. Meister, 2010).
A lecture in the frame of Curatorial and Critical Studies
Dorothea von Hantelmann: Economies of Attention: Regimes of Time in Exhibitions
Dienstag, 22. Januar 2013, 19 Uhr, Aula
In the early days of public museums, opening hours were a highly debated issue. This was not just because questions such as whether or not museums should be open on Sundays pointed to the extent to which the museum realized its ideal of unlimited public accessibility. This debate also occured because the invention of a cultural ritual based on an open temporal frame with no fixed beginning or end marked the museum as a liberal ritual; a ritual that, unlike the fixed time format of theatre, allowed individualized and flexibilised forms of usage. Although the museum can host thousands of people a day, it – contrary to theatre or film – still constitutes a flexible ritual par excellence. In that sense, it is a distinctively modern ritual that corresponds to a modern, individualized sensitivity.
The lecture will reflect on the aesthetic and cultural significance of these phenomena in light of the history and current social function of art museums. By relating them to sociological approaches such as the theory of weak ties, it will throw a particular light on the respective economies of attention that are at stake in exhibitions today
Dorothea von Hantelmann, born 1969 in Hamburg, lives in Berlin. She teaches Art History at the Freie Universität Berlin and works at the Collaborative Research Centre on “Aesthetic Experience and the Dissolution of Artistic Limits.” Among her recent publications are How to Do Things with Art: The Meaning of Art’s Performativity (2010) and Die Ausstellung. Politik eines Rituals (ed. with C. Meister, 2010).
A lecture in the frame of Curatorial and Critical Studies
Mittwoch, 9. Januar 2013
Amy Sillman
Vortrag
Amy Sillman
Dienstag, 15. Januar 2013, 19 Uhr, Aula
Amy Sillman *1956 is an American painter living and working in New York. Sillman foregrounds the materiality of painting and its formal, psychological, and conceptual dimensions. She constructs her work in a physical way — through gesture, color, and drawing-based procedures — imbuing it with questions of feminism, performativity, and humor. Her work is an ongoing negotiation between the improvisatory and the structural aspects of thinking itself, with painting posited as a language in which to express thinking in a formal and affective method.
Sillman‘s bibliography includes Amy Sillman: Works on Paper (Gregory R. Miller, 2006), a monograph of her drawings with text by Wayne Koestenbaum, and Between Artists: Gregg Bordowitz and Amy Sillman (ART Press, NY, 2009). Sillman earned her BFA from the School of Visual Arts in New York and her MFA from Bard College in 1995. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship at the American Academy in Berlin in 2009. Her work has been widely exhibited and collected in public and private collections, including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. A survey of her work will be exhibited in 2013 at the Institute of Contemporary Art in Boston.
Die Veranstaltung findet in englischer Sprache statt.
Amy Sillman
Dienstag, 15. Januar 2013, 19 Uhr, Aula
Amy Sillman *1956 is an American painter living and working in New York. Sillman foregrounds the materiality of painting and its formal, psychological, and conceptual dimensions. She constructs her work in a physical way — through gesture, color, and drawing-based procedures — imbuing it with questions of feminism, performativity, and humor. Her work is an ongoing negotiation between the improvisatory and the structural aspects of thinking itself, with painting posited as a language in which to express thinking in a formal and affective method.
Sillman‘s bibliography includes Amy Sillman: Works on Paper (Gregory R. Miller, 2006), a monograph of her drawings with text by Wayne Koestenbaum, and Between Artists: Gregg Bordowitz and Amy Sillman (ART Press, NY, 2009). Sillman earned her BFA from the School of Visual Arts in New York and her MFA from Bard College in 1995. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship at the American Academy in Berlin in 2009. Her work has been widely exhibited and collected in public and private collections, including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. A survey of her work will be exhibited in 2013 at the Institute of Contemporary Art in Boston.
Die Veranstaltung findet in englischer Sprache statt.
Sonntag, 9. Dezember 2012
CAROLYN CHRISTOV-BAKARGIEV
Vortrag: Masterstudiengang Curatorial and Critical Studies
Carolyn Christov-Bakargiev: To be here and not there, to be there, and not here. Embodiment and a locational turn in dOCUMENTA (13)
Donnerstag, 13. Dezember 2012 19 Uhr, Aula
Carolyn Christov-Bakargiev is a curator, author and researcher into artistic practices, the histories of art and the politics of aesthetics.
She was Artistic Director of dOCUMENTA (13) from 2009–12, which took place in Kassel, Germany, from June 9 – September 16, 2012. Portions of the project were located also in Afghanistan, Egypt and Canada. Previously, she was Artistic Director of the 16th Biennale of Sydney: “Revolutions - Forms That Turn” (2008), and Chief Curator at the Castello di Rivoli Museum for Contemporary Art (2002–08, interim director in 2009). She was Senior Curator at P.S.1 Contemporary Art Center – a MoMA affiliate, New York, from 1999–2001. Her books include William Kentridge (1998), Arte Povera (1999), and for dOCUMENTA (13) the 100 Notes – 100 Thoughts series as well as The Book of Books (2011–12). Previous group exhibitions include “The Moderns”, Turin (2003), “Faces in the Crowd”, London and Turin (2004), "Citta' Natura" (1997), and "Molteplici Culture" (1992).
Die Veranstaltung findet in englischer Sprache statt.
Carolyn Christov-Bakargiev: To be here and not there, to be there, and not here. Embodiment and a locational turn in dOCUMENTA (13)
Donnerstag, 13. Dezember 2012 19 Uhr, Aula
Carolyn Christov-Bakargiev is a curator, author and researcher into artistic practices, the histories of art and the politics of aesthetics.
She was Artistic Director of dOCUMENTA (13) from 2009–12, which took place in Kassel, Germany, from June 9 – September 16, 2012. Portions of the project were located also in Afghanistan, Egypt and Canada. Previously, she was Artistic Director of the 16th Biennale of Sydney: “Revolutions - Forms That Turn” (2008), and Chief Curator at the Castello di Rivoli Museum for Contemporary Art (2002–08, interim director in 2009). She was Senior Curator at P.S.1 Contemporary Art Center – a MoMA affiliate, New York, from 1999–2001. Her books include William Kentridge (1998), Arte Povera (1999), and for dOCUMENTA (13) the 100 Notes – 100 Thoughts series as well as The Book of Books (2011–12). Previous group exhibitions include “The Moderns”, Turin (2003), “Faces in the Crowd”, London and Turin (2004), "Citta' Natura" (1997), and "Molteplici Culture" (1992).
Die Veranstaltung findet in englischer Sprache statt.
HAMLET, MISE-EN-SCÈNE
Performance
HAMLET, mise-en-scène; by Städelschule’s Pure Fiction seminar imagining being trained in Reptilian Acting Technique
Developed by Mark von Schlegell
Dienstag & Mittwoch, 11. & 12. Dezember 2012, jeweils 19 Uhr, Portikus
As the “live” component and finale to the "EXTRA TROUBLE–Jack Smith in Frankfurt" festival, Portikus presents a nonexistent version of Hamlet. Channeling the ghost of American filmmaker and artist Jack Smith, Shakespeare’s most abused tragedy will be adapted, retold and performed by the Städelschule’s Pure Fiction seminar.
Directed by esteemed writer, Guest Professor Mark von Schlegell, with support by renowned artist Professor Michael Krebber, this rendition of Hamlet pays homage to Jack Smith by declining to represent him in coherent institutional fashion. Audiences will be invited to take part in the dynamism of creation coming to life on stage on two special nights at Portikus. The costumes were developed in collaboration with New York-based designer Susan Cianciolo.
Participants:
Inga Danysz, Hélène Fauquet, Adam Fearon, Genoveva Filipovic, Charlie Froud, Timothy Furey, Nik Geene, Edgars Gluhovs, Erika Landström, Ellen Yeon Kim, Yuki Kishino, Michael Krebber, Erik Lavesson, Oona Lea von Maydell, Daniel Murnaghan, Aislinn McNamara, Clare Molloy, Dana Munro, Luzie Hanna Karolina Meyer, Julien Nguyen, Olga Pedan, George Rippon, Mahsa Saloor, Simon Speiser, Anina Trösch, Colin Whitaker, Anna Susanna Woof-Dwight, Phillip Zach, Anna Zacharoff u.a.
Das Projekt wurde ermöglicht durch die großzügige Unterstützung des Kulturamts der Stadt Frankfurt am Main und der Hessischen Kulturstiftung.
Die Veranstaltung findet in englischer Sprache statt.
HAMLET, mise-en-scène; by Städelschule’s Pure Fiction seminar imagining being trained in Reptilian Acting Technique
Developed by Mark von Schlegell
Dienstag & Mittwoch, 11. & 12. Dezember 2012, jeweils 19 Uhr, Portikus
As the “live” component and finale to the "EXTRA TROUBLE–Jack Smith in Frankfurt" festival, Portikus presents a nonexistent version of Hamlet. Channeling the ghost of American filmmaker and artist Jack Smith, Shakespeare’s most abused tragedy will be adapted, retold and performed by the Städelschule’s Pure Fiction seminar.
Directed by esteemed writer, Guest Professor Mark von Schlegell, with support by renowned artist Professor Michael Krebber, this rendition of Hamlet pays homage to Jack Smith by declining to represent him in coherent institutional fashion. Audiences will be invited to take part in the dynamism of creation coming to life on stage on two special nights at Portikus. The costumes were developed in collaboration with New York-based designer Susan Cianciolo.
Participants:
Inga Danysz, Hélène Fauquet, Adam Fearon, Genoveva Filipovic, Charlie Froud, Timothy Furey, Nik Geene, Edgars Gluhovs, Erika Landström, Ellen Yeon Kim, Yuki Kishino, Michael Krebber, Erik Lavesson, Oona Lea von Maydell, Daniel Murnaghan, Aislinn McNamara, Clare Molloy, Dana Munro, Luzie Hanna Karolina Meyer, Julien Nguyen, Olga Pedan, George Rippon, Mahsa Saloor, Simon Speiser, Anina Trösch, Colin Whitaker, Anna Susanna Woof-Dwight, Phillip Zach, Anna Zacharoff u.a.
Das Projekt wurde ermöglicht durch die großzügige Unterstützung des Kulturamts der Stadt Frankfurt am Main und der Hessischen Kulturstiftung.
Die Veranstaltung findet in englischer Sprache statt.
ANDREAS SLOMINSKI & MARIO KRAMER
Vortrag
Andreas Slominski im Gespräch mit Mario Kramer
Montag, 10. Dezember 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Andreas Slomisnskis Werke entstammen häufig der Alltagswelt, wie beispielsweise ein mit zahlreichen Tüten behängtes Herrenfahrrad eines Obdachlosen, das Slominski auf den Straßen Frankfurts sah und das ihn zu einer eigenen Arbeit inspirierte. Der Künstler hatte bereits zahlreiche internationale Ausstellungen wie 1997 auf der Venedig Biennale oder 2005 in der Serpentine Gallery in London. Slominski lebt und arbeitet in Hamburg und in Werder bei Berlin.
Mario Kramer ist seit Anbeginn des MMK der Sammlungsleiter des Hauses. Als Slominski 1987 seine erste Einzelausstellung in der Produzentengalerie in Hamburg hatte, war Kramer in einem angegliederten Ausstellungsraum tätig und verfolgt seitdem das künstlerische Schaffen Slominskis. Einen vorläufigen Höhepunkt fand ihre Zusammenarbeit in der umfassenden Werkschau Andreas Slominskis „Roter Sand und ein gefundenes Glück“, die 2006 im MMK zu sehen war.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Andreas Slominski im Gespräch mit Mario Kramer
Montag, 10. Dezember 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
Andreas Slomisnskis Werke entstammen häufig der Alltagswelt, wie beispielsweise ein mit zahlreichen Tüten behängtes Herrenfahrrad eines Obdachlosen, das Slominski auf den Straßen Frankfurts sah und das ihn zu einer eigenen Arbeit inspirierte. Der Künstler hatte bereits zahlreiche internationale Ausstellungen wie 1997 auf der Venedig Biennale oder 2005 in der Serpentine Gallery in London. Slominski lebt und arbeitet in Hamburg und in Werder bei Berlin.
Mario Kramer ist seit Anbeginn des MMK der Sammlungsleiter des Hauses. Als Slominski 1987 seine erste Einzelausstellung in der Produzentengalerie in Hamburg hatte, war Kramer in einem angegliederten Ausstellungsraum tätig und verfolgt seitdem das künstlerische Schaffen Slominskis. Einen vorläufigen Höhepunkt fand ihre Zusammenarbeit in der umfassenden Werkschau Andreas Slominskis „Roter Sand und ein gefundenes Glück“, die 2006 im MMK zu sehen war.
Die Veranstaltungsreihe MMK Talks wird gefördert durch die Deutsche Bank Stiftung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Mittwoch, 5. Dezember 2012
HAMLET, mise-en-scène
11 and 12 December 2012, 7pm
HAMLET, mise-en-scène; by Städelschule’s Pure Fiction seminar imagining being trained in Reptilian Acting Technique
Developed by Mark von Schlegell
As the “live” component and finale to the EXTRA TROUBLE—Jack Smith in Frankfurt festival, Portikus presents a nonexistent version of Hamlet. Channeling the ghost of American filmmaker and artist Jack Smith, Shakespeare’s most abused tragedy will be adapted, retold and performed by the Städelschule’s Pure Fiction seminar.
Directed by esteemed writer, Guest Professor Mark von Schlegell, with support by renowned artist Professor Michael Krebber, this rendition of Hamlet pays homage to Jack Smith by declining to represent him in coherent institutional fashion. Audiences will be invited to take part in the dynamism of creation coming to life on stage on two special nights at Portikus. The costumes were developed in collaboration with New York-based designer Susan Cianciolo.
Wine. Nudity.
Participants: Inga Danysz, Hélène Fauquet, Adam Fearon, Genoveva Filipovic, Charlie Froud, Timothy Furey, Nik Geene, Edgars Gluhovs, Erika Landström, Ellen Yeon Kim, Yuki Kishino, Michael Krebber, Erik Lavesson, Oona Lea von Maydell, Daniel Murnaghan, Aislinn McNamara, Clare Molloy, Dana Munro, Luzie Hanna Karolina Meyer, Julien Nguyen, Olga Pedan, George Rippon, Mahsa Saloor, Simon Speiser, Anina Trösch, Colin Whitaker, Anna Susanna Woof-Dwight, Phillip Zach, Anna Zacharoff, amongst others.
13 December 2012–13 January 2013
Jack Smith—A display of ephemera from private collections
For the following month at Portikus, visitors have the opportunity to view the remnants of the mise-en-scène and a selection of rare ephemera by Jack Smith from the private collections of Cosima von Bonin, Michael Krebber, Daniel Buchholz and Christopher Müller.
The project was made possible with the generous support of Kulturamt der Stadt Frankfurt am Main and Hessische Kulturstiftung.
Portikus
Alte Brücke 2 / Maininsel
60594 Frankfurt/Main
Tel: +49 69 962 4454 - 13
Fax: +49 69 962 4454 - 24
claudia.famulok@portikus.de
www.portikus.de
HAMLET, mise-en-scène; by Städelschule’s Pure Fiction seminar imagining being trained in Reptilian Acting Technique
Developed by Mark von Schlegell
As the “live” component and finale to the EXTRA TROUBLE—Jack Smith in Frankfurt festival, Portikus presents a nonexistent version of Hamlet. Channeling the ghost of American filmmaker and artist Jack Smith, Shakespeare’s most abused tragedy will be adapted, retold and performed by the Städelschule’s Pure Fiction seminar.
Directed by esteemed writer, Guest Professor Mark von Schlegell, with support by renowned artist Professor Michael Krebber, this rendition of Hamlet pays homage to Jack Smith by declining to represent him in coherent institutional fashion. Audiences will be invited to take part in the dynamism of creation coming to life on stage on two special nights at Portikus. The costumes were developed in collaboration with New York-based designer Susan Cianciolo.
Wine. Nudity.
Participants: Inga Danysz, Hélène Fauquet, Adam Fearon, Genoveva Filipovic, Charlie Froud, Timothy Furey, Nik Geene, Edgars Gluhovs, Erika Landström, Ellen Yeon Kim, Yuki Kishino, Michael Krebber, Erik Lavesson, Oona Lea von Maydell, Daniel Murnaghan, Aislinn McNamara, Clare Molloy, Dana Munro, Luzie Hanna Karolina Meyer, Julien Nguyen, Olga Pedan, George Rippon, Mahsa Saloor, Simon Speiser, Anina Trösch, Colin Whitaker, Anna Susanna Woof-Dwight, Phillip Zach, Anna Zacharoff, amongst others.
13 December 2012–13 January 2013
Jack Smith—A display of ephemera from private collections
For the following month at Portikus, visitors have the opportunity to view the remnants of the mise-en-scène and a selection of rare ephemera by Jack Smith from the private collections of Cosima von Bonin, Michael Krebber, Daniel Buchholz and Christopher Müller.
The project was made possible with the generous support of Kulturamt der Stadt Frankfurt am Main and Hessische Kulturstiftung.
Portikus
Alte Brücke 2 / Maininsel
60594 Frankfurt/Main
Tel: +49 69 962 4454 - 13
Fax: +49 69 962 4454 - 24
claudia.famulok@portikus.de
www.portikus.de
Montag, 3. Dezember 2012
THOMAS SCHEIBITZ & BEATE SÖNTGEN
MMK Talk
Thomas Scheibitz im Gespräch mit Beate Söntgen
Dienstag, 4. Dezember 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Thomas Scheibitz *1968 in Radeberg bei Dresden, erforscht in seinen Gemälden und Skulpturen die Grenze zwischen Figürlichkeit und Abstraktion, indem er vertraute Erscheinungen aufgreift und in einem mehrstufigen Abstraktionsprozess in eine persönliche Bildsprache übersetzt. Ausgangpunkt für seine Themen und Motive sind Vorlagen aus der Alltags- und Populärkultur wie Film, Literatur, Musik und Werbung sowie Architektur, aber auch kunsthistorische Bildvorlagen aus dem Mittelalter oder der Renaissance. Aus zahllosen, archivierten Eindrücken übersetzt Scheibitz Gesehenes in eine neue Bildsprache und gewinnt so die Formen und Strukturen seiner Gemälde und Skulpturen.
Zusammen mit Tino Sehgal gestaltete er 2005 den deutschen Pavillon bei der 51. Biennale in Venedig und noch bis Januar 2013 ist seine Ausstellung One-Time Pad im MMK zu sehen.
Beate Söntgen *1963 in Stolberg ist Professorin für Kunstgeschichte an der Leuphana Universität Lüneburg.
Sie studierte Kunstgeschichte, Philosophie und Neuere deutsche Literatur in Marburg und Berlin; 1991 Magister Artium, Freie Universität Berlin, mit einer Arbeit über die Selbstdarstellung Lovis Corinths. 1996 promovierte sie über den deutschen Realismus an der Freien Universität Berlin. 1996-1998 war sie Postdoc-Stipendiatin am Graduiertenkolleg «Rhetorik-Repräsentation-Wissen», Europa-Universität Viadrina Frankfurt/Oder.
Ihre Arbeitsschwerpunkte sind zeitgenössische Kunst, Kunst des 19. Jahrhunderts, Niederländische Kunst des 17. Jahrhunderts, Kunsttheorie und Ästhetik, Theorie der Wahrnehmung, Geschichte der Kunstgeschichte und Geschlechterforschung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Thomas Scheibitz im Gespräch mit Beate Söntgen
Dienstag, 4. Dezember 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Thomas Scheibitz *1968 in Radeberg bei Dresden, erforscht in seinen Gemälden und Skulpturen die Grenze zwischen Figürlichkeit und Abstraktion, indem er vertraute Erscheinungen aufgreift und in einem mehrstufigen Abstraktionsprozess in eine persönliche Bildsprache übersetzt. Ausgangpunkt für seine Themen und Motive sind Vorlagen aus der Alltags- und Populärkultur wie Film, Literatur, Musik und Werbung sowie Architektur, aber auch kunsthistorische Bildvorlagen aus dem Mittelalter oder der Renaissance. Aus zahllosen, archivierten Eindrücken übersetzt Scheibitz Gesehenes in eine neue Bildsprache und gewinnt so die Formen und Strukturen seiner Gemälde und Skulpturen.
Zusammen mit Tino Sehgal gestaltete er 2005 den deutschen Pavillon bei der 51. Biennale in Venedig und noch bis Januar 2013 ist seine Ausstellung One-Time Pad im MMK zu sehen.
Beate Söntgen *1963 in Stolberg ist Professorin für Kunstgeschichte an der Leuphana Universität Lüneburg.
Sie studierte Kunstgeschichte, Philosophie und Neuere deutsche Literatur in Marburg und Berlin; 1991 Magister Artium, Freie Universität Berlin, mit einer Arbeit über die Selbstdarstellung Lovis Corinths. 1996 promovierte sie über den deutschen Realismus an der Freien Universität Berlin. 1996-1998 war sie Postdoc-Stipendiatin am Graduiertenkolleg «Rhetorik-Repräsentation-Wissen», Europa-Universität Viadrina Frankfurt/Oder.
Ihre Arbeitsschwerpunkte sind zeitgenössische Kunst, Kunst des 19. Jahrhunderts, Niederländische Kunst des 17. Jahrhunderts, Kunsttheorie und Ästhetik, Theorie der Wahrnehmung, Geschichte der Kunstgeschichte und Geschlechterforschung.
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Montag, 26. November 2012
Katharina Fritsch & Julian Heynen
Gespräch
Katharina Fritsch im Gespräch mit Julian Heynen
Freitag, 30. November 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Katharina Fritsch wird 1956 in Essen geboren. Sie ergreift zunächst das Studium Geschichte und Kunstgeschichte in Münster, wechselt jedoch 1977 die Fächer und geht an die Kunstakademie Düsseldorf, an der sie bei Fritz Schwegler bis 1984 studiert. 2001 erhält Fritsch eine Professur für Bildhauerei an der Kunstakademie Münster und seit 2010 lehrt sie an der Kunstakademie Düsseldorf.
Ihre Skulpturen, Objekte, Bilder und Installationen spielen mit der Spannung von Realität und Irrealem, von Surrealem und Unheimlichem, von Sein und Schein. In ihrer plakativen Zeichenhaftigkeit, ihrer Einprägsamkeit weisen die in veränderten medialen Zusammenhängen gezeigten Objekte durchaus Parallelen zur populären Bildwelt, zu computergenerierten Icons und Bildkürzeln oder comichaften Figuren auf.
Fritschs Objekte basieren auf einem die künstlerische »Vision« rekonstruierenden, aber zugleich auch an den industriell gefertigten figürlichen Alltagserzeugnissen ausgerichteten skulpturalen Entwicklungsprozess. Die Künstlerin bedient sich dabei aktueller Fabrikationstechniken, produziert Prototypen aus Polyester, Plastik, Plexiglas. Werke wie ihre bekannte Tischgesellschaft (1988), eine Installation männlicher Figuren an zwei Seiten eines langen, ornamental bedeckten Tisches, zeigen dies in ihrer formalisierten Figürlichkeit und der deckenden schwarz-weißen Farbigkeit der seriellen Gestalten, die dem gesamten Ensemble eine ebenso unpersönliche wie irreale Dimension verleihen. Zugleich erscheinen solche Arbeiten auch wie skulpturale Fassungen medial vermittelter Bilder, wie manifest gewordene Klischees.
Julian Heynen studierte Kunst- und Literaturgeschichte und promovierte über den amerikanischen Maler Barnett Newman. Seit den achtziger Jahren Kurator und Autor für zeitgenössische Kunst. Assistent am Wilhelm-Lehmbruck-Museum, Duisburg, Ausstellungsleiter und stellv. Direktor der Krefelder Kunstmuseen (Museum Haus Lange, Museum Haus Esters, Kaiser Wilhelm Museum). Danach Künstlerischer Leiter von K21 Kunstsammlung Nordrhein-Westfalen. Seit 2009 Künstlerischer Leiter für besondere Aufgaben bei der Kunstsammlung Nordrhein-Westfalen. 2003 und 2005 Kommissar des deutschen Pavillons auf der Biennale von Venedig, 2007 Ko-Kurator der Shanghai Biennale. 2007 bis 2010 Teilnehmer der Fernsehsendung „Bilderstreit“ (3SAT).
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Katharina Fritsch im Gespräch mit Julian Heynen
Freitag, 30. November 2012, 19 Uhr, MMK Museum für Moderne Kunst, Domstrasse 10
In der dritten Ausgabe der gemeinsam von der Städelschule und dem Museum für Moderne Kunst konzipierten Veranstaltungsreihe MMK Talks dreht sich alles um das Thema "The Artists". Herausragende Künstler aus der MMK Sammlung diskutieren mit jeweils einem Gesprächspartner ihrer Wahl.
Katharina Fritsch wird 1956 in Essen geboren. Sie ergreift zunächst das Studium Geschichte und Kunstgeschichte in Münster, wechselt jedoch 1977 die Fächer und geht an die Kunstakademie Düsseldorf, an der sie bei Fritz Schwegler bis 1984 studiert. 2001 erhält Fritsch eine Professur für Bildhauerei an der Kunstakademie Münster und seit 2010 lehrt sie an der Kunstakademie Düsseldorf.
Ihre Skulpturen, Objekte, Bilder und Installationen spielen mit der Spannung von Realität und Irrealem, von Surrealem und Unheimlichem, von Sein und Schein. In ihrer plakativen Zeichenhaftigkeit, ihrer Einprägsamkeit weisen die in veränderten medialen Zusammenhängen gezeigten Objekte durchaus Parallelen zur populären Bildwelt, zu computergenerierten Icons und Bildkürzeln oder comichaften Figuren auf.
Fritschs Objekte basieren auf einem die künstlerische »Vision« rekonstruierenden, aber zugleich auch an den industriell gefertigten figürlichen Alltagserzeugnissen ausgerichteten skulpturalen Entwicklungsprozess. Die Künstlerin bedient sich dabei aktueller Fabrikationstechniken, produziert Prototypen aus Polyester, Plastik, Plexiglas. Werke wie ihre bekannte Tischgesellschaft (1988), eine Installation männlicher Figuren an zwei Seiten eines langen, ornamental bedeckten Tisches, zeigen dies in ihrer formalisierten Figürlichkeit und der deckenden schwarz-weißen Farbigkeit der seriellen Gestalten, die dem gesamten Ensemble eine ebenso unpersönliche wie irreale Dimension verleihen. Zugleich erscheinen solche Arbeiten auch wie skulpturale Fassungen medial vermittelter Bilder, wie manifest gewordene Klischees.
Julian Heynen studierte Kunst- und Literaturgeschichte und promovierte über den amerikanischen Maler Barnett Newman. Seit den achtziger Jahren Kurator und Autor für zeitgenössische Kunst. Assistent am Wilhelm-Lehmbruck-Museum, Duisburg, Ausstellungsleiter und stellv. Direktor der Krefelder Kunstmuseen (Museum Haus Lange, Museum Haus Esters, Kaiser Wilhelm Museum). Danach Künstlerischer Leiter von K21 Kunstsammlung Nordrhein-Westfalen. Seit 2009 Künstlerischer Leiter für besondere Aufgaben bei der Kunstsammlung Nordrhein-Westfalen. 2003 und 2005 Kommissar des deutschen Pavillons auf der Biennale von Venedig, 2007 Ko-Kurator der Shanghai Biennale. 2007 bis 2010 Teilnehmer der Fernsehsendung „Bilderstreit“ (3SAT).
Eine Kooperation von Städelschule und MMK Museum für Moderne Kunst.
Die Veranstaltung findet in deutscher Sprache statt.
Michael Stevenson
Vortrag
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Michael Stevenson: Artist Talk
Donnerstag, 29. November 2012, 19 Uhr, Aula
Michael Stevenson (b. 1964) is a New Zealand born artist who lives in Berlin. He has become known for his large-scale installations yet his work also encompasses filmmaking, photography, printmaking, writing and publishing. His practice is based in research that more often begins by reviewing historical events; via auxiliary objects these histories are converted and re-told in a form that assumes the exemplary. Underlying this process is simply the need to visualize our complex relationship with things.
His projects have been exhibited at Portikus, Frankfurt am Main; Museo Tamayo Arte Contemporáneo, Mexico City; Museum of Contemporary Art, Sydney; Witte de With, Rotterdam; The Power Plant, Toronto; Arnolfini, Bristol; CCA Wattis Institute for Contemporary Art, San Francisco; Tate Modern, London: 50th Venice Biennale; Art Unlimited, Art Basel 38; and Museum Abteiberg, Mönchengladbach.
In this talk the artist will discuss the current Portikus exhibition and its development via and through earlier projects
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller
Vortrag
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Christian Höller: Dr. Shrinkelstein's Couch – Der späte Jack Smith und sein widerspenstiges (Nach-)Wirken
Dienstag, 27. November 2012, 19 Uhr, Aula
Christian Höller is editor of springerin – Hefte für Gegenwartskunst and has written extensively on art and cultural theory. Between 2002 and 2007, he has been Visiting Professor at the École supérieure des beaux-arts in Geneva; in 2006–07, he was scientific editor of documenta 12 magazines.
He has been curator of the special programs Pop Unlimited? (2000), and No Wave New York 1976–84 (2010) at the International Short Film Festival Oberhausen (the latter was also shown at Austrian Filmmuseum Vienna in 2010, and at HAU – Hebbel am Ufer Berlin in 2011). In 2009, he was sub-curator of the exhibition See This Sound (Lentos Kunstmuseum Linz; section „Site Sound Industry“), and in 2011, he co-curated the exhibition Hauntings – Ghost Box Media (Medienturm Graz) as well as the accompanying concert series Sonic Spectres.
In 2001, he edited the anthology Pop Unlimited? (Turia + Kant, Vienna); in 2005, the volume Techno-Visionen (Folio, Vienna/Bolzano; co-editor) as well as the catalogue Hans Weigand (Walther König, Cologne); in 2012, editor of L'Internationale: Post-War Avant-Gardes Between 1957 and 1986 (JRP | Ringier, Zurich). His volume of interviews Time Action Vision: Conversations in Cultural Studies, Theory, and Activism was published by JRP | Ringier, Zurich / Les presses du réel, Dijon in 2010.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 20. November 2012
Jerry Tartaglia
Vortrag
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Jerry Tartaglia: Jack Smith and the Glamour of Sharkbait
Mittwoch, 21. November 2012, 19 Uhr, Aula
Jerry Tartaglia is an experimental filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos. Later, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his lost feature, Lawless with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973. He was the first to write about the gay sensibility in American Avant-Garde film (1977) and his work is an ongoing examination of Identity and media politics through Cinema. The A.I.D.S. Trilogy (A.I.D.S.C..R.E.A.M., Ecce Homo, and Final Solutions) made during the early days of the epidemic in America, has been screened around the world.
His work was included in the Century-end retrospective at the Whitney Museum of American Art, "The Art of the 20th Century." Seven of his films have been premiered at the Berlinale since 1990. In 1993 he was one of the twelve artists who created the Red Ribbon as a symbol of A.I.D.S. awareness through the Artists' Caucus of Visual AIDS in NYC, paving the way for awareness ribbons of all kinds. In the early 1990s, he began the work of restoring and preserving the film legacy of Jack Smith. He reconstructed Smith's three feature films and eleven shorts for the Smith Estate, and in 2011 restored the Smith oeuvre for the Barbara Gladstone Gallery in NYC.
His recent work in Live Film Performance premiered at MIX 24, the NY Queer Media Festival, and uses celluloid film, digital imaging, and live action to explore the element of Presence in moving image art. He also teaches Cinema, writing, and media production.
Jerry Tartaglia will discuss the horror of celluloid film preservation and the pitfalls of restoring the Jack Smith film oeuvre in an environment of art sharks, manic lobsters and dead fish.
Charles Esche
Vortrag
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
Masterstudiengang Curatorial and Critical Studies
Charles Esche: Living and Working in Historical Times
Dienstag, 20. November 2012, 19 Uhr, Aula
Charles Esche (* 1962) is a curator and writer. He is Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Afterall Books based at Central St. Martins College of Art and Design, London. He is visiting lecturer at a number of European art academies and was a board member of Manifesta. In 2012 he received the European Cultural Foundation's Princess Margriet Award. In 2011, he co-curated Strange and Close for CAPC, Bordeaux. In the last years, he has curated the following biennials: in 2010 U3, the Slovenian Triennale in Ljubljana; in 2009 and 2007 with Khalil Rabah the 2nd RIWAQ Biennial, Ramallah, Palestine; in 2005 co-curator of the 9th International Istanbul Biennial with Vasif Kortun and in 2002 the co-curator with Hou Hanru and Song Wan Kyung of the Gwangju Biennale, Republic of Korea.
Between 2000 and 2004 he was the Director of Rooseum Center for Contemporary Art in Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including “Baltic Babel” and “Intentional Communities” From 1998 to 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993 to 1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.
His main work has involved working on the constitution of art institutions, most recently the museum but also the qualities of the art centre or biennial. His writings on institutional possibility and policy are useful aids to rethinking the relation between art and social change. A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines Artforum, Frieze, Parkett and Art Monthly among others.
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