Vortrag
Peter Osborne: Art of the Contemporary: From Memory to History
10. Juni 2014, 19 Uhr, Aula
What formal conditions does the idea of an ‘art of the contemporary’, as a historical practice, critically impose on art today? This lecture will address this question via the relationship between narrative, image and information at the point of overlap between fictional and historical discourse. It will take as its point of reference some recent film works by Akram Zaatari.
Peter Osborne is Professor of Modern European Philosophy and Director of the Centre for Research in Modern European Philosophy (CRMEP), Kingston University London, and an editor of the British journal Radical Philosophy.
His books include: The Politics of Time: Modernity and Avant-Garde (1995; 2011), Philosophy in Cultural Theory (2000), Conceptual Art (2002), Marx (2005), El arte más allá de la estética: Ensayos filosóficos sobre el arte contemporáneo (CENDEAC, Murcia, 2010), and most recently, Anywhere or Not at All: Philosophy of Contemporary Art (Verso, 2013).
Catalogue essays include contributions to Manifesta 5, Tate Modern, Biennale of Sydney, Walker Art Center Minneapolis, Office of Contemporary Art Norway, National Museum of Art, Architecture and Design Oslo, CGAC in Santiago de Compostela, and Museo de Arte Contemporáneo de Castilla y León.
Other recent publications include: two essays in Gerhard Richter: Fotographie und Malerei – Malerei als Fotographie: Acht Texte zu Gerhard Richters Medienstrategie: Schriften des Gerhard Richter Archive Dresden, Band 8, Walter König, Cologne, 2011; The State of Things (co-ed. with Marta Kuzma and Pablo Lafuentes), Walter Koenig/OCA, Cologne/Oslo, 2012 – lectures from the Norwegian representation at the Venice Biennale 2011, of which he was a co-curator – and Spheres of Action: Art and Politics (co-ed. with Éric Alliez), Tate Publishing, London, 2013.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 29. April 2014
Hu Fang: Dear Navigator and the Notes from the Glass Room
Buchvorstellung und Gespräch
Hu Fang: Dear Navigator, and the Notes from the Glass Room
Freitag, 13. Juni 2014, 19 Uhr, Aula
Dear Navigator,
Everything in this isolation module simulates an actual space capsule; the only thing that could not be simulated is weightlessness, which is just about as disappointing as a bride not showing up for her thoroughly planned luxury wedding.
If we want to reinvent ourselves in this world, what we really want is to cast off gravity; it is only when we float through the air that all daydreams really begin; and now, walking through this wooden cabin in summer clothes, it's like we're at a resort.
—Vladimir Xie, March 7
Dear Navigator,
My parents believed that martyr's blood could be exchanged for today's blissful living, and their energy shaped the future and afterlife for which they hoped, but, beyond the scope of renewing the energy that they invested, we have already been dispersed from the powers of the collective, atomized into scattered and aimless particles, returned to chaos.
—Vladimir Xie, June 7
Dear Navigator,
Once, I was able to capture the beauty of the light switching from afternoon to evening, the clouds suspended against the fading sky as it turned a deep blue, the street lights flickering on one after the other, having the effect of desk lamps–both condensing space, and yet infinitely expanding it into the gradually shifting colors of the skyline.
Sitting on the bus, a small girl who was sunk into the backrest of her seat watched her reflection in the window. And after a day’s work, even more people were drifting to sleep in the bumper-to-bumper congestion, the city emerging from evening like a submarine surfacing from the ocean depths.
—Vladimir Xie, September 22
Dear Navigator,
If everything that has ever happened to humanity cannot be echoed in this universe,then in the end to where has the vital energy emitted by the human body been dispersed?
—Vladimir Xie, December 6
Hu Fang is a fiction writer, art critic and curator who lives and works in Guangzhou and Beijing, is the co-founder and artistic director of Vitamin Creative Space in Guangzhou and the Pavilion in Beijing, and has been involved in various international projects including documenta 12 magazines as coordinating editor and Yokohama Triennale 2008 as co-curator.
Die Veranstaltung findet in englischer Sprache statt.
Hu Fang: Dear Navigator, and the Notes from the Glass Room
Freitag, 13. Juni 2014, 19 Uhr, Aula
Dear Navigator,
Everything in this isolation module simulates an actual space capsule; the only thing that could not be simulated is weightlessness, which is just about as disappointing as a bride not showing up for her thoroughly planned luxury wedding.
If we want to reinvent ourselves in this world, what we really want is to cast off gravity; it is only when we float through the air that all daydreams really begin; and now, walking through this wooden cabin in summer clothes, it's like we're at a resort.
—Vladimir Xie, March 7
Dear Navigator,
My parents believed that martyr's blood could be exchanged for today's blissful living, and their energy shaped the future and afterlife for which they hoped, but, beyond the scope of renewing the energy that they invested, we have already been dispersed from the powers of the collective, atomized into scattered and aimless particles, returned to chaos.
—Vladimir Xie, June 7
Dear Navigator,
Once, I was able to capture the beauty of the light switching from afternoon to evening, the clouds suspended against the fading sky as it turned a deep blue, the street lights flickering on one after the other, having the effect of desk lamps–both condensing space, and yet infinitely expanding it into the gradually shifting colors of the skyline.
Sitting on the bus, a small girl who was sunk into the backrest of her seat watched her reflection in the window. And after a day’s work, even more people were drifting to sleep in the bumper-to-bumper congestion, the city emerging from evening like a submarine surfacing from the ocean depths.
—Vladimir Xie, September 22
Dear Navigator,
If everything that has ever happened to humanity cannot be echoed in this universe,then in the end to where has the vital energy emitted by the human body been dispersed?
—Vladimir Xie, December 6
Hu Fang is a fiction writer, art critic and curator who lives and works in Guangzhou and Beijing, is the co-founder and artistic director of Vitamin Creative Space in Guangzhou and the Pavilion in Beijing, and has been involved in various international projects including documenta 12 magazines as coordinating editor and Yokohama Triennale 2008 as co-curator.
Die Veranstaltung findet in englischer Sprache statt.
Chris Dercon: Institutionalizing the Global View
Vortrag Masterstudiengang Kuratieren und Kritik
Chris Dercon: Institutionalizing the Global View
Donnerstag, 12. Juni 2014, 19 Uhr, Aula
Chris Dercon is an art historian, a documentary filmmaker and cultural producer. In April 2011 he was appointed Director of Tate Modern in London. He was previously Director of Haus der Kunst in Munich, the Museum Boijmans Van Beuningen in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as Program Director of PS1 Museum in New York. He curated and co-curated, amongst others, exhibitions of André Cadere, Dan Graham, Konstantin Grcic, Hans Haacke, Carlo Mollino, Helio Oiticica, Paul Thek, Ai Weiwei and Franz West. He has published, contributed to and edited many catalogues, art publications, lectures and interviews worldwide. His current interest lies particularly with old and new textiles. He has made extensive cultural research and co operations with cultural producers in Brazil as of (1988), North Africa – Levant as of (1992), Japan as of (1993), China as of (1999), India as of (2005), and most recently in West Africa, The Gulf and Saudi Arabia.
Der Vortrag findet in englischer Sprache statt.
Chris Dercon: Institutionalizing the Global View
Donnerstag, 12. Juni 2014, 19 Uhr, Aula
Chris Dercon is an art historian, a documentary filmmaker and cultural producer. In April 2011 he was appointed Director of Tate Modern in London. He was previously Director of Haus der Kunst in Munich, the Museum Boijmans Van Beuningen in Rotterdam and Witte de With – Center for Contemporary Art in Rotterdam, as well as Program Director of PS1 Museum in New York. He curated and co-curated, amongst others, exhibitions of André Cadere, Dan Graham, Konstantin Grcic, Hans Haacke, Carlo Mollino, Helio Oiticica, Paul Thek, Ai Weiwei and Franz West. He has published, contributed to and edited many catalogues, art publications, lectures and interviews worldwide. His current interest lies particularly with old and new textiles. He has made extensive cultural research and co operations with cultural producers in Brazil as of (1988), North Africa – Levant as of (1992), Japan as of (1993), China as of (1999), India as of (2005), and most recently in West Africa, The Gulf and Saudi Arabia.
Der Vortrag findet in englischer Sprache statt.
Neal White: Art as Event; John Latham and Flat Time Theory.
Vortrag
Neal White: Art as Event; John Latham and Flat Time Theory.
6. Mai 2014, 19 Uhr, Aula
In this talk, Neal White will outline how the late British conceptual artist John Latham (1922-2006) viewed his art in relation to concepts of time, which were in turn applied to the incidental practice of the Artist Placement Group (APG - 1966-89). As White will discuss, to Latham’s frustration, many of the ideas that underline critical processes at play in his work and his concepts were never fully explored or understood beyond this context. In this talk, White discusses the issues that continue to haunt his ideas as well as the role that Latham played personally in the development of Whites own work, in which art can be seen as an epistemic thing or event. In this respect, the work of the individual artists is linked to collaborative, collective and critical practices; and in particular a range of instituent forms which are deconstructing territories and borders associated with knowledge and art.
Neal White is an artist who leads the contemporary art and research group, the Office of Experiments. In this capacity, he has undertaken commissions in Washington DC and Germany, research at the Centre for Land Use Interpretation, USA and with Arts Catalyst, UK. In addition, he has collaborated with artists and writers, academics and architects, from N55 (DK) to John Latham (UK). He recently co-curated Dark Places at John Hansard Gallery (UK) and has exhibited Internationally at Apexart - New York, Chelsea Space - London (2010), Casino Foundation for Contemporary Art - Luxembourg (2008), Barbican Gallery - London (2005), Natural History Museum, - London (2003) and Moderna Museet - Stockholm (1998). He was a founder of art and technology group Soda (1997-02), and a Director of O+I, from 2007-9 (formerly Artist Placement Group). He is currently Professor of Media Arts Practice, The Media School, Bournemouth University.
Following the lecture, there will be a "Skoob Performance" happening in the courtyard, an experiment in relation to the exhibition God is Great (10-19) – John Latham and Neal White at Portikus in Frankfurt. The performances, which were originally titled Skoob Tower Ceremonies and performed by John Latham, either in person or under instruction, were slow burnings of book towers constructed with volumes of the Encyclopedia Britannica, which Latham initiated throughout his life at different intervals and in different sites, from the 1960s onwards.
Der Vortrag findet in englischer Sprache statt.
Neal White: Art as Event; John Latham and Flat Time Theory.
6. Mai 2014, 19 Uhr, Aula
In this talk, Neal White will outline how the late British conceptual artist John Latham (1922-2006) viewed his art in relation to concepts of time, which were in turn applied to the incidental practice of the Artist Placement Group (APG - 1966-89). As White will discuss, to Latham’s frustration, many of the ideas that underline critical processes at play in his work and his concepts were never fully explored or understood beyond this context. In this talk, White discusses the issues that continue to haunt his ideas as well as the role that Latham played personally in the development of Whites own work, in which art can be seen as an epistemic thing or event. In this respect, the work of the individual artists is linked to collaborative, collective and critical practices; and in particular a range of instituent forms which are deconstructing territories and borders associated with knowledge and art.
Neal White is an artist who leads the contemporary art and research group, the Office of Experiments. In this capacity, he has undertaken commissions in Washington DC and Germany, research at the Centre for Land Use Interpretation, USA and with Arts Catalyst, UK. In addition, he has collaborated with artists and writers, academics and architects, from N55 (DK) to John Latham (UK). He recently co-curated Dark Places at John Hansard Gallery (UK) and has exhibited Internationally at Apexart - New York, Chelsea Space - London (2010), Casino Foundation for Contemporary Art - Luxembourg (2008), Barbican Gallery - London (2005), Natural History Museum, - London (2003) and Moderna Museet - Stockholm (1998). He was a founder of art and technology group Soda (1997-02), and a Director of O+I, from 2007-9 (formerly Artist Placement Group). He is currently Professor of Media Arts Practice, The Media School, Bournemouth University.
Following the lecture, there will be a "Skoob Performance" happening in the courtyard, an experiment in relation to the exhibition God is Great (10-19) – John Latham and Neal White at Portikus in Frankfurt. The performances, which were originally titled Skoob Tower Ceremonies and performed by John Latham, either in person or under instruction, were slow burnings of book towers constructed with volumes of the Encyclopedia Britannica, which Latham initiated throughout his life at different intervals and in different sites, from the 1960s onwards.
Der Vortrag findet in englischer Sprache statt.
Montag, 28. April 2014
Renzo Martens: More news on the Institute for Human Activities
Vortrag
Renzo Martens: More news on the Institute for Human Activities
Mittwoch, 30. April 2014, 19 Uhr, Aula
Renzo Martens will talk on recent developments at the Institute for Human Activities, an organization dedicated to making critical art profitable for the people that inhabit the Congo, rather than people in New York or Berlin. The project started on a former Unilever plantation 800 miles north of Kinshasa on the Congo River, and is currently re-locating, after a series of dramatic events.
Renzo Martens is a Dutch artist and filmmaker and currently serves as director of the Institute. In his first film, Episode 1, Renzo travels to Chechnya to adopt a rarely defined role in contemporary war: that of its spectator. Episode 3, also known as Enjoy Poverty, is a meditation on the political claims of contemporary art and the result of Renzo’s two-year journey in the Congo. In the film, aided by a giant, portable neon sign reading “Enjoy Poverty,” he sets up an emancipation program to encourage local communities to think of their poverty as a resource.
His films have been shown at the 6th Berlin Biennial, Tate Modern in London, Centre Pompidou in Paris, Van Abbe Museum Eindhoven, Kunsthaus Graz, Stedelijk Museum Amsterdam, as well as at numerous film festivals and on public broadcast channels. He co-founded the Institute for Human Activities in 2010 with legal structures in Amsterdam, Brussels and Kinshasa.
Renzo Martens: More news on the Institute for Human Activities
Mittwoch, 30. April 2014, 19 Uhr, Aula
Renzo Martens will talk on recent developments at the Institute for Human Activities, an organization dedicated to making critical art profitable for the people that inhabit the Congo, rather than people in New York or Berlin. The project started on a former Unilever plantation 800 miles north of Kinshasa on the Congo River, and is currently re-locating, after a series of dramatic events.
Renzo Martens is a Dutch artist and filmmaker and currently serves as director of the Institute. In his first film, Episode 1, Renzo travels to Chechnya to adopt a rarely defined role in contemporary war: that of its spectator. Episode 3, also known as Enjoy Poverty, is a meditation on the political claims of contemporary art and the result of Renzo’s two-year journey in the Congo. In the film, aided by a giant, portable neon sign reading “Enjoy Poverty,” he sets up an emancipation program to encourage local communities to think of their poverty as a resource.
His films have been shown at the 6th Berlin Biennial, Tate Modern in London, Centre Pompidou in Paris, Van Abbe Museum Eindhoven, Kunsthaus Graz, Stedelijk Museum Amsterdam, as well as at numerous film festivals and on public broadcast channels. He co-founded the Institute for Human Activities in 2010 with legal structures in Amsterdam, Brussels and Kinshasa.
Yael Bartana: Creating Utopian Moments
Vortrag
Yael Bartana: Creating Utopian Moments
Dienstag, 29. April 2014, 19 Uhr, Aula
The talk will focus on political imagination as a tool to create utopian moments. Imagination interacting with political reality provides a possibility to reject conventional assumptions about the world. Bartana will show and discuss clips from several projects produced between 2007 and 2014.
Yael Bartana *1970 in Kfar-Yehezkel, Israel is a video artist who explores the imagery of cultural identity. Her early video work, both documentary and staged, explores social phenomena that illuminate the complexity of contemporary life, primarily within her native country of Israel. These early works document collective rituals, ceremonies and social diversions in which aesthetic interventions, including soundtracks, the slowing of the image and the use of specific camera perspectives, played a role. In recent years, she has more and more staged her films, and proposed utopic narratives for new chapters of history.
She studied at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York and the Rijksakademie in Amsterdam. Her solo exhibitions include the Moderna Museet in Malmö, the Museum of Modern Art in Warsaw, PS1 in New York, the Center for Contemporary Art in Tel Aviv, the Kunstverein in Hamburg and the Van Abbemuseum in Eindhoven. She participated in the Sao Paolo Biennial (2010 and 2006), Documenta 12 in Kassel and the Istanbul Biennial. In 2011, Yael Bartana represented Poland for the 54th edition of the Venice Biennial.
Yael Bartana: Creating Utopian Moments
Dienstag, 29. April 2014, 19 Uhr, Aula
The talk will focus on political imagination as a tool to create utopian moments. Imagination interacting with political reality provides a possibility to reject conventional assumptions about the world. Bartana will show and discuss clips from several projects produced between 2007 and 2014.
Yael Bartana *1970 in Kfar-Yehezkel, Israel is a video artist who explores the imagery of cultural identity. Her early video work, both documentary and staged, explores social phenomena that illuminate the complexity of contemporary life, primarily within her native country of Israel. These early works document collective rituals, ceremonies and social diversions in which aesthetic interventions, including soundtracks, the slowing of the image and the use of specific camera perspectives, played a role. In recent years, she has more and more staged her films, and proposed utopic narratives for new chapters of history.
She studied at the Bezalel Academy of Arts and Design, Jerusalem, the School of Visual Arts, New York and the Rijksakademie in Amsterdam. Her solo exhibitions include the Moderna Museet in Malmö, the Museum of Modern Art in Warsaw, PS1 in New York, the Center for Contemporary Art in Tel Aviv, the Kunstverein in Hamburg and the Van Abbemuseum in Eindhoven. She participated in the Sao Paolo Biennial (2010 and 2006), Documenta 12 in Kassel and the Istanbul Biennial. In 2011, Yael Bartana represented Poland for the 54th edition of the Venice Biennial.
Dienstag, 22. April 2014
Virginija Januškevičiūtė: Swim
Vortrag
Virginija Januškevičiūtė: Swim
Mittwoch, 23. April 2014, 19 Uhr, Aula
The talk will focus on some aspects of the practice of Darius Žiūra, an artist based in Vilnius whose work primarily consists of what he calls ‘visuals’ and whose exhibition SWIM has recently opened at the Contemporary Art Centre in Vilnius. The four letters in the exhibition title is an acronym, sometimes used in online forums by writers trying to avoid incriminating themselves or asking questions about some illegal activity or its consequences. In those circumstances the acronym is usually deciphered as ‘Someone Who Isn’t Me’.
Virginija Januškevičiūtė is a curator at the Contemporary Art Centre (CAC) in Vilnius. Her most recent projects include solo exhibitions by Darius Žiūra (SWIM, curated with Anders Kreuger) and Gintaras Didžiapetris (Color and Device). In 2008 with Valentinas Klimašauskas she put together For the First and the Second Time, a retroactive project that included artworks remaining at the premises since previous exhibitions. In 2011 she curated a one day group show In Between the Acts for Survival Kit festival in Riga, which was loosely based on the idea of visiting theatres to see not the plays but their intermissions. In 2012 she put together, among others, The Nineties for „Kim?“ art centre in Riga – a group show set alongside a 40 page complaint by philosopher Arūnas Sverdiolas. In 2013 the CAC appointed her one of the curators of the 12th Baltic Triennial scheduled for 2015.
Der Vortrag findet in englischer Sprache statt.
Virginija Januškevičiūtė: Swim
Mittwoch, 23. April 2014, 19 Uhr, Aula
The talk will focus on some aspects of the practice of Darius Žiūra, an artist based in Vilnius whose work primarily consists of what he calls ‘visuals’ and whose exhibition SWIM has recently opened at the Contemporary Art Centre in Vilnius. The four letters in the exhibition title is an acronym, sometimes used in online forums by writers trying to avoid incriminating themselves or asking questions about some illegal activity or its consequences. In those circumstances the acronym is usually deciphered as ‘Someone Who Isn’t Me’.
Virginija Januškevičiūtė is a curator at the Contemporary Art Centre (CAC) in Vilnius. Her most recent projects include solo exhibitions by Darius Žiūra (SWIM, curated with Anders Kreuger) and Gintaras Didžiapetris (Color and Device). In 2008 with Valentinas Klimašauskas she put together For the First and the Second Time, a retroactive project that included artworks remaining at the premises since previous exhibitions. In 2011 she curated a one day group show In Between the Acts for Survival Kit festival in Riga, which was loosely based on the idea of visiting theatres to see not the plays but their intermissions. In 2012 she put together, among others, The Nineties for „Kim?“ art centre in Riga – a group show set alongside a 40 page complaint by philosopher Arūnas Sverdiolas. In 2013 the CAC appointed her one of the curators of the 12th Baltic Triennial scheduled for 2015.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 3. April 2014
Michael Sanchez
Vortrag
Michael Sanchez: The Seasons in Retrospect
Dienstag, 8. April 2014, 19 Uhr, Aula
Michael Sanchez’ lecture "The Seasons in Retrospect," extends certain themes of his essays from the past few years, using television, fashion and contemporary art as case studies for examining the connections between the infrastructure of post-seasonal distribution and models of risk management.
Michael Sanchez is a PhD candidate in the Department of Art History and Archaeology at Columbia University New York. He has lectured at numerous institutions, including Princeton University, Boston University, Städelschule in Frankfurt, The Art Institute of Chicago, The Frick Collection and Artists Space. His writing on contemporary art and media has appeared in Artforum and Texte zur Kunst, as well as anthologies and exhibition catalogues published by Sternberg Press, Wiener Secession, CAPC Bordeaux, and Arnolfini Gallery Bristol.
He is currently at work on his dissertation, which draws on original archival material to trace some of the key elements of the contemporary art dispositif back to the Rhineland circa 1970. His project articulates the interconnections between four apparently disparate phenomena that emerged at this moment: jet infrastructure and the circulation of artists (Konrad Fischer); discursively-oriented post-studio pedagogical techniques (Joseph Beuys); new market structures such as the art fair and econometric analysis of art distribution (Willi Bongard); and curation as cultural technique in the practice of independent contemporary art curators.
Der Vortrag findet in englischer Sprache statt.
Michael Sanchez: The Seasons in Retrospect
Dienstag, 8. April 2014, 19 Uhr, Aula
Michael Sanchez’ lecture "The Seasons in Retrospect," extends certain themes of his essays from the past few years, using television, fashion and contemporary art as case studies for examining the connections between the infrastructure of post-seasonal distribution and models of risk management.
Michael Sanchez is a PhD candidate in the Department of Art History and Archaeology at Columbia University New York. He has lectured at numerous institutions, including Princeton University, Boston University, Städelschule in Frankfurt, The Art Institute of Chicago, The Frick Collection and Artists Space. His writing on contemporary art and media has appeared in Artforum and Texte zur Kunst, as well as anthologies and exhibition catalogues published by Sternberg Press, Wiener Secession, CAPC Bordeaux, and Arnolfini Gallery Bristol.
He is currently at work on his dissertation, which draws on original archival material to trace some of the key elements of the contemporary art dispositif back to the Rhineland circa 1970. His project articulates the interconnections between four apparently disparate phenomena that emerged at this moment: jet infrastructure and the circulation of artists (Konrad Fischer); discursively-oriented post-studio pedagogical techniques (Joseph Beuys); new market structures such as the art fair and econometric analysis of art distribution (Willi Bongard); and curation as cultural technique in the practice of independent contemporary art curators.
Der Vortrag findet in englischer Sprache statt.
Ben van Berkel
Städelschule Architecture Class
SAC
presents
Ben van Berkel: Managing the Void
Donnerstag, 3. April, 19 Uhr , Aula
SAC Public Lecture Series Summer Semester 2014
SAC proudly presents Ben van Berkel, co-founder and principal architect at UNStudio in Amsterdam. Ben van Berkel’s talk in SAC’s public lecture series doubles as the keynote lecture in the Media Facades Summit 2014, which is offered in conjunction with the Light+Building Fair and Luminale 2014 programme.
Together with his partner, Caroline Bos, Ben van Berkel founded UNStudio in 1988. Over the years UNStudio has emerged as one of the leading architectural firms in the world. It has realised numerous seminal buildings, some of which also feature advanced media facades.
Currently Ben van Berkel’s UNStudio can look back at more than 80 realised projects while having more than 50 new projects in progress.
Die Veranstaltung findet in englischer Sprache statt.
SAC
presents
Ben van Berkel: Managing the Void
Donnerstag, 3. April, 19 Uhr , Aula
SAC Public Lecture Series Summer Semester 2014
SAC proudly presents Ben van Berkel, co-founder and principal architect at UNStudio in Amsterdam. Ben van Berkel’s talk in SAC’s public lecture series doubles as the keynote lecture in the Media Facades Summit 2014, which is offered in conjunction with the Light+Building Fair and Luminale 2014 programme.
Together with his partner, Caroline Bos, Ben van Berkel founded UNStudio in 1988. Over the years UNStudio has emerged as one of the leading architectural firms in the world. It has realised numerous seminal buildings, some of which also feature advanced media facades.
Currently Ben van Berkel’s UNStudio can look back at more than 80 realised projects while having more than 50 new projects in progress.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 9. Januar 2014
Mark von Schlegell
Vortrag
Mark von Schlegell: Readings of Roussel
Donnerstag, 16. Januar 2014, 19 Uhr, Aula
In this lecture novelist and critic Mark von Schlegell hopes to return to you from a recent immersion into the works of Raymond Roussel (1877-1933) with various reports of rather miraculous news items concerning mis-readings of Roussel, and their implications in the history of art, the avant-garde etc. -- or perhaps only another romance. Let yourself be the judge!
Mark von Schlegell is the author of the novels Venusia, Mercury Station and the forthcoming Sundogz from Semiotext(e) as well as of two books of literary theory, Realometer and Dreaming the Mainstream, from Merve Verlag, Berlin. His stories and essays occupy art publications over the world. Von Schlegell has directed the Pure Fiction Seminar at Staedelschule, Frankfurt since 2012. Among other things the seminar has published three experimental fiction compendia. The latest and most ambitious of these -- Dysfyction -- will be available (at possible discount) at the lecture.
Mark von Schlegell: Readings of Roussel
Donnerstag, 16. Januar 2014, 19 Uhr, Aula
In this lecture novelist and critic Mark von Schlegell hopes to return to you from a recent immersion into the works of Raymond Roussel (1877-1933) with various reports of rather miraculous news items concerning mis-readings of Roussel, and their implications in the history of art, the avant-garde etc. -- or perhaps only another romance. Let yourself be the judge!
Mark von Schlegell is the author of the novels Venusia, Mercury Station and the forthcoming Sundogz from Semiotext(e) as well as of two books of literary theory, Realometer and Dreaming the Mainstream, from Merve Verlag, Berlin. His stories and essays occupy art publications over the world. Von Schlegell has directed the Pure Fiction Seminar at Staedelschule, Frankfurt since 2012. Among other things the seminar has published three experimental fiction compendia. The latest and most ambitious of these -- Dysfyction -- will be available (at possible discount) at the lecture.
Amelie von Wulffen
Vortrag
Amelie von Wulffen über den Moment der Malerin
Dienstag, 14. Januar 2014, 18 Uhr, Aula
Anknüpfend an ihre aktuelle Ausstellung 'Am kühlen Tisch' im Portikus wird Amelie von Wulffen über ihre Kunst sprechen, die zur Zeit aus Ölbildern und Zeichnungen besteht. Auf Basis dieser Feststellung wird die Künstlerin auf andere von ihr angewandte Techniken wie Collagen, Wandbilder, Trickfilme, Zeichnungen und Fotos eingehen und der Frage nachgehen, wie es so weit kommen konnte, dass sie im Moment Malerin ist.
Von Wulffen (geb. 1966 in Breitenbrunn, Oberpfalz) lebt und arbeitet in Berlin. Bekannt wurde sie mit großen fragmentarischen Bildern, in denen die Technik von Zeichnung, Malerei und Collage oftmals in einer einzigen Arbeit kombiniert ist. Sie studierte an der Akademie der Bildenden Künste München. 2000 erhielt sie den Villa-Romana-Preis, 2002 den Ars-Viva-Preis. Sie war auf der 50. Venedig Biennale und der Manifesta 5 vertreten, Einzelausstellungen fanden u.a. 2012 im Aspen Art Museum, Colorado, 2009 im Kunstraum Innsbruck, 2006 im Kunstmuseum Basel und im Kunstverein in Düsseldorf sowie 2005 im Centre Pompidou, Paris, statt.
Im Anschluß an den Vortrag findet die Veröffentlichung der neuen Publikation 'Amelie von Wulffen - Am kühlen Tisch' um 20 Uhr im Portikus in Anwesenheit der Künstlerin statt.
Amelie von Wulffen über den Moment der Malerin
Dienstag, 14. Januar 2014, 18 Uhr, Aula
Anknüpfend an ihre aktuelle Ausstellung 'Am kühlen Tisch' im Portikus wird Amelie von Wulffen über ihre Kunst sprechen, die zur Zeit aus Ölbildern und Zeichnungen besteht. Auf Basis dieser Feststellung wird die Künstlerin auf andere von ihr angewandte Techniken wie Collagen, Wandbilder, Trickfilme, Zeichnungen und Fotos eingehen und der Frage nachgehen, wie es so weit kommen konnte, dass sie im Moment Malerin ist.
Von Wulffen (geb. 1966 in Breitenbrunn, Oberpfalz) lebt und arbeitet in Berlin. Bekannt wurde sie mit großen fragmentarischen Bildern, in denen die Technik von Zeichnung, Malerei und Collage oftmals in einer einzigen Arbeit kombiniert ist. Sie studierte an der Akademie der Bildenden Künste München. 2000 erhielt sie den Villa-Romana-Preis, 2002 den Ars-Viva-Preis. Sie war auf der 50. Venedig Biennale und der Manifesta 5 vertreten, Einzelausstellungen fanden u.a. 2012 im Aspen Art Museum, Colorado, 2009 im Kunstraum Innsbruck, 2006 im Kunstmuseum Basel und im Kunstverein in Düsseldorf sowie 2005 im Centre Pompidou, Paris, statt.
Im Anschluß an den Vortrag findet die Veröffentlichung der neuen Publikation 'Amelie von Wulffen - Am kühlen Tisch' um 20 Uhr im Portikus in Anwesenheit der Künstlerin statt.
Reza Negarestani
Vortrag
Reza Negarestani: How can you make me better?
Montag, 13. Januar 2014, 19 Uhr, Aula
"Withdraw into yourself, as far as you can. Associate with those who will make a better man of you. Welcome those whom you yourself can improve." —Lucius Annaeus Seneca
Building on a now neglected tradition of philosophy as a discipline for forging questions whose sheer insinuative power does something irreversible to the mind, this discussion entertains the idea of posing a question so extreme it would not leave any room for a neutral attitude. Posed at the intersection of philosophy as an experiment in the ascesis of cognition and ethics as a design of conduct, the inciting and hypothetical dimensions of this question are concealed within the informal demand of an innocent query or solicitation: "How can you make me better?"
Reza Negarestani is an iranian philosopher and writer who currently lives and works in the United States. He has contributed extensively to journals and anthologies and lectured at numerous international universities and institutes. His current philosophical project is focused on rationalist universalism beginning with the evolution of the modern system of knowledge and advancing toward contemporary philosophies of rationalism. He is author of Cyclonopedia. Complicity with Anonymous Materials.
Reza Negarestani: How can you make me better?
Montag, 13. Januar 2014, 19 Uhr, Aula
"Withdraw into yourself, as far as you can. Associate with those who will make a better man of you. Welcome those whom you yourself can improve." —Lucius Annaeus Seneca
Building on a now neglected tradition of philosophy as a discipline for forging questions whose sheer insinuative power does something irreversible to the mind, this discussion entertains the idea of posing a question so extreme it would not leave any room for a neutral attitude. Posed at the intersection of philosophy as an experiment in the ascesis of cognition and ethics as a design of conduct, the inciting and hypothetical dimensions of this question are concealed within the informal demand of an innocent query or solicitation: "How can you make me better?"
Reza Negarestani is an iranian philosopher and writer who currently lives and works in the United States. He has contributed extensively to journals and anthologies and lectured at numerous international universities and institutes. His current philosophical project is focused on rationalist universalism beginning with the evolution of the modern system of knowledge and advancing toward contemporary philosophies of rationalism. He is author of Cyclonopedia. Complicity with Anonymous Materials.
Montag, 16. Dezember 2013
Ray Brassier
Vortrag
Ray Brassier: The Catastrophe of Time
Dienstag, 17. Dezember 2013, 19 Uhr, Aula
This talk will examine the logic of catastrophe in J.G. Ballard's 1960 story "The Voices of Time".
In Ballard's tale, catastrophe creates a temporal involution that throws linear time out of joint, generating unanticipated opportunities for cognitive discovery. These discoveries are charted through the various metaphorical transpositions that are the central resource of Ballard's writing.
Through these transpositions, catastrophe is raised from the level of aesthetic trauma into the realm of cognitive experience.
Ray Brassier is author of Nihil Unbound. Enlightenment and Extinction (2007). He is professor of philosophy at the American University in Beirut.
Der Vortrag findet in englischer Sprache statt.
Ray Brassier: The Catastrophe of Time
Dienstag, 17. Dezember 2013, 19 Uhr, Aula
This talk will examine the logic of catastrophe in J.G. Ballard's 1960 story "The Voices of Time".
In Ballard's tale, catastrophe creates a temporal involution that throws linear time out of joint, generating unanticipated opportunities for cognitive discovery. These discoveries are charted through the various metaphorical transpositions that are the central resource of Ballard's writing.
Through these transpositions, catastrophe is raised from the level of aesthetic trauma into the realm of cognitive experience.
Ray Brassier is author of Nihil Unbound. Enlightenment and Extinction (2007). He is professor of philosophy at the American University in Beirut.
Der Vortrag findet in englischer Sprache statt.
Sonntag, 8. Dezember 2013
Georgia Sagri
Vortrag
Georgia Sagri
Dienstag, 10. Dezember 2013, 19 Uhr, Aula
There it is: productions of subjectivities, techno-dandyism, role-collage; expressiveness is a tool. Automatons of colors, timings, states of grasping things or letting them go. What’s the matter with her? Do I really need to be she/ he or it now? I am a river. I am clicking this for you and you say hi with a certain voice of connection that assumes connecting-ness. It is horrible when you don’t know where your hand is when your mouth speaks. Although I know you have nothing to do with me, we had sex many times and I recognized we were both dead, from where it comes your horniness!? What a weird question. –Tell me. Muscle Mountain. Sunny cereal bars of the 90c, means “training a generation of individuals capable of organizing a free life for free men.” (1) Preciado calls it pharmaco-porn-power and continues: “The new pharmacological and surgical techniques set in motion tectonic construction processes that combine figurative representations derived from cinema and from architecture (editing, 3D modeling or personality design, etc.), according to which the organs, the vessels, the fluids and the molecules are converted into the prime material from which our corporality is manufactured.”(2) Is this the undoing of dialectics? What about the a-gender and the a-performance? For the sake of distancing and absence, and for the multiplicity of options I move. She moves.
(1) G. Yvetot, Emancipation. From the Anarchist Encyclopedia — S. Faure (2) Pharmaco-pornographic Politics: Towards a New Gender Ecology Beatriz Preciado, parallax, 2008, vol. 14, no. 1, 105–117
Georgia Sagri, born 1979 studied music and art in Athens and New York. At the center of her practice lies the exploration of performance as an ever-evolving field within social and visual life, interconnected, though distinct from the dialectics of representation in theatre, music and dance. In addition to performance pieces she has been developing in the past fifteen years, a great part of her artistic output comprises video and computer works, texts, installations and drawings. She was included in the Biennale de Lyon (2013), ProBio, Expo 1: MoMA PS1, New York (2013) and the Whitney Biennial (2011). She is the founder of the audio-only magazine FORTÉ (magazineforte.com) and the founder of SALOON, an on-going collaborative project.
Der Vortrag findet in englischer Sprache statt.
Georgia Sagri
Dienstag, 10. Dezember 2013, 19 Uhr, Aula
There it is: productions of subjectivities, techno-dandyism, role-collage; expressiveness is a tool. Automatons of colors, timings, states of grasping things or letting them go. What’s the matter with her? Do I really need to be she/ he or it now? I am a river. I am clicking this for you and you say hi with a certain voice of connection that assumes connecting-ness. It is horrible when you don’t know where your hand is when your mouth speaks. Although I know you have nothing to do with me, we had sex many times and I recognized we were both dead, from where it comes your horniness!? What a weird question. –Tell me. Muscle Mountain. Sunny cereal bars of the 90c, means “training a generation of individuals capable of organizing a free life for free men.” (1) Preciado calls it pharmaco-porn-power and continues: “The new pharmacological and surgical techniques set in motion tectonic construction processes that combine figurative representations derived from cinema and from architecture (editing, 3D modeling or personality design, etc.), according to which the organs, the vessels, the fluids and the molecules are converted into the prime material from which our corporality is manufactured.”(2) Is this the undoing of dialectics? What about the a-gender and the a-performance? For the sake of distancing and absence, and for the multiplicity of options I move. She moves.
(1) G. Yvetot, Emancipation. From the Anarchist Encyclopedia — S. Faure (2) Pharmaco-pornographic Politics: Towards a New Gender Ecology Beatriz Preciado, parallax, 2008, vol. 14, no. 1, 105–117
Georgia Sagri, born 1979 studied music and art in Athens and New York. At the center of her practice lies the exploration of performance as an ever-evolving field within social and visual life, interconnected, though distinct from the dialectics of representation in theatre, music and dance. In addition to performance pieces she has been developing in the past fifteen years, a great part of her artistic output comprises video and computer works, texts, installations and drawings. She was included in the Biennale de Lyon (2013), ProBio, Expo 1: MoMA PS1, New York (2013) and the Whitney Biennial (2011). She is the founder of the audio-only magazine FORTÉ (magazineforte.com) and the founder of SALOON, an on-going collaborative project.
Der Vortrag findet in englischer Sprache statt.
Montag, 2. Dezember 2013
Susan Grayson
Vortrag
Susan Grayson: Introduction to Lecture - On About Around Starting a Body of Work
Mittwoch, 4. Dezember 2013, 19 Uhr, Aula
The focus of my presentation will be about starting a body of work using my work and my milieu. Are we more influenced by history or what is simultaneously going on around us.
Artists are the best art historians. Artist needs to know what is old, what has been done, to know what is new to push the boundaries of art. In my generation and before, art history was another material and tool for making art. And every artist made their own take on art history. My generation was the first TV generation. When video became accessible, artists looked at it like TV and the potential to reach a wider audience. The students are the first generation to be born with the computer and internet. Their pool of information is infinite and immediately accessible.
Interaction and collaboration with peers are a way of dialoguing the present with art history. Some of my collaborations will be shown, including a film by Isa Genzken, Zwei Frauen Im Gefect, 1974. Other artists included in the presentation are Kathryn Bigelow, Sigmar Polke, Reiner Ruthenbeck, Mario Merz and Neil Jenney.
Susan Grayson is an artist who lives in New York working mainly with photography. She has exhibited her work in a group shows at Gagosian Gallery, Kunstverein Dusseldorf, and Queens Museum. She made the first exhibitions on a cross cultural history of sports photography in the United States and Germany.
Der Vortrag findet in englischer Sprache statt.
Susan Grayson: Introduction to Lecture - On About Around Starting a Body of Work
Mittwoch, 4. Dezember 2013, 19 Uhr, Aula
The focus of my presentation will be about starting a body of work using my work and my milieu. Are we more influenced by history or what is simultaneously going on around us.
Artists are the best art historians. Artist needs to know what is old, what has been done, to know what is new to push the boundaries of art. In my generation and before, art history was another material and tool for making art. And every artist made their own take on art history. My generation was the first TV generation. When video became accessible, artists looked at it like TV and the potential to reach a wider audience. The students are the first generation to be born with the computer and internet. Their pool of information is infinite and immediately accessible.
Interaction and collaboration with peers are a way of dialoguing the present with art history. Some of my collaborations will be shown, including a film by Isa Genzken, Zwei Frauen Im Gefect, 1974. Other artists included in the presentation are Kathryn Bigelow, Sigmar Polke, Reiner Ruthenbeck, Mario Merz and Neil Jenney.
Susan Grayson is an artist who lives in New York working mainly with photography. She has exhibited her work in a group shows at Gagosian Gallery, Kunstverein Dusseldorf, and Queens Museum. She made the first exhibitions on a cross cultural history of sports photography in the United States and Germany.
Der Vortrag findet in englischer Sprache statt.
Freitag, 22. November 2013
Douglas Gordon
Vortrag
Douglas Gordon (& special guests): DOLCE AND GABBANA OR…
Mittwoch, 27. November 2013, 19 Uhr, Aula
Douglas Gordon, born 1966 in Glasgow, Scotland, is one of the most influential contemporary video artists. Performances, sculptural installations and conceptual texts also number among his modes of expression. With his analyses and reconstructions of images drawn from collective memory and everyday culture, he lays bare fundamental patterns of perception. His oeuvre is dominated by polarities such as life and death, good and evil, guilt and innocence, as well as temptation and fear. Gordon won the Turner Prize in 1996 among many other art prizes and the following year he participated in the Venice Biennale.
He is Professor of Film at the Städelschule since 2010.
Douglas Gordon (& special guests): DOLCE AND GABBANA OR…
Mittwoch, 27. November 2013, 19 Uhr, Aula
Douglas Gordon, born 1966 in Glasgow, Scotland, is one of the most influential contemporary video artists. Performances, sculptural installations and conceptual texts also number among his modes of expression. With his analyses and reconstructions of images drawn from collective memory and everyday culture, he lays bare fundamental patterns of perception. His oeuvre is dominated by polarities such as life and death, good and evil, guilt and innocence, as well as temptation and fear. Gordon won the Turner Prize in 1996 among many other art prizes and the following year he participated in the Venice Biennale.
He is Professor of Film at the Städelschule since 2010.
Kerstin Skrobanek
Vortrag
Kerstin Skrobanek: It started with a postcard: 1960s event scores between material production and conceptual art
Dienstag, 26. November 2013, 19 Uhr, Aula
In the 1960s a new category of artistic production emerged: the so called "event score", invented by Fluxus artists such as Yoko Ono, George Brecht and Benjamin Patterson. These little paper cards were not only scores for Fluxus performances but complex works which melt together the visual arts, music, poetry and theatre. These cheaply made cards refuse being precious artworks on one hand, but on the other they are not just a note on a piece of paper: Artists precisely composed their appearance and their content and created a multilayered piece of art which is not necessarily linked to a live performance. The presentation will give a survey of different kinds of event scores, will show some of their roots and will think about their role in art history after 1960.
Dr. Kerstin Skrobanek studied Art History, Applied Theatre Sciences, Archeology and the Classics in Giessen, Marburg and Thessaloniki. After a master thesis about Eva Hesse she again concentrated on the 1960s and 70s with her doctoral thesis about Mary Bauermeister and she received her PhD from Prof. Dr. Regine Prange at Goethe-University Frankfurt in 2010. Since then she worked as a museum curator at the Wilhelm-Hack-Museum in Ludwigshafen and succeeded her interest in art of the 60s and 70s with shows about Mary Bauermeister or a recently finished research project about the phenomenon of the Multiple. During the past years she published many books and articles e.g. about Yoko Ono (Schirn Kunsthalle), prints of the 1960s and 70s (Museum der Bildenden Künste Leipzig) or contemporary French art (Staatliche Kunsthalle Karlsruhe).
Kerstin Skrobanek lives and works as an independent curator and publisher in Mannheim.
Kerstin Skrobanek: It started with a postcard: 1960s event scores between material production and conceptual art
Dienstag, 26. November 2013, 19 Uhr, Aula
In the 1960s a new category of artistic production emerged: the so called "event score", invented by Fluxus artists such as Yoko Ono, George Brecht and Benjamin Patterson. These little paper cards were not only scores for Fluxus performances but complex works which melt together the visual arts, music, poetry and theatre. These cheaply made cards refuse being precious artworks on one hand, but on the other they are not just a note on a piece of paper: Artists precisely composed their appearance and their content and created a multilayered piece of art which is not necessarily linked to a live performance. The presentation will give a survey of different kinds of event scores, will show some of their roots and will think about their role in art history after 1960.
Dr. Kerstin Skrobanek studied Art History, Applied Theatre Sciences, Archeology and the Classics in Giessen, Marburg and Thessaloniki. After a master thesis about Eva Hesse she again concentrated on the 1960s and 70s with her doctoral thesis about Mary Bauermeister and she received her PhD from Prof. Dr. Regine Prange at Goethe-University Frankfurt in 2010. Since then she worked as a museum curator at the Wilhelm-Hack-Museum in Ludwigshafen and succeeded her interest in art of the 60s and 70s with shows about Mary Bauermeister or a recently finished research project about the phenomenon of the Multiple. During the past years she published many books and articles e.g. about Yoko Ono (Schirn Kunsthalle), prints of the 1960s and 70s (Museum der Bildenden Künste Leipzig) or contemporary French art (Staatliche Kunsthalle Karlsruhe).
Kerstin Skrobanek lives and works as an independent curator and publisher in Mannheim.
Dienstag, 5. November 2013
Chris Kraus
Vortrag
Chris Kraus: Jason Rhoades, American Artist
Mittwoch, 6. November 2013, 19 Uhr, Aula
Recently, the ICA Philadelphia showed four installations by Jason Rhoades to be navigated by four interpretive paths or roads: Jason Rhoades, American Artist; Jason the Mason, (a biographical thread named for a childhood nickname); systems (language, scale, indexing, economies), and taboo. The exhibition aims to open up for investigation Rhoades's spectacular, overloaded installations. Immediately accessible and eye-catching, these works are at the same time deeply systematic, detailed, and rewarding of careful engagement. Using neon, plastic buckets, power tools, snaking wires, figurines, sound, and a vast range of other materials, including a V-8 engine, Rhoades's work brings the viewer in with humor, vibrancy, and the provocative audacity of his vision. Rhoades' prodigious work has always been intensely physical, gleefully vulgar, "offensive," but at the same time as affect-less as the demeanor of an idiot savant or made-for-TV serial killer.
Chris Kraus is presenting a lecture on the artist Jason Rhoades. It was originally given at the ICA. She is a writer, filmmaker, and professor of film at Eupean Graduate School in Saas-Fee. She is well known for her role as an influential film and video maker in the New York Downtown scene of the mid eighties. Kraus’ firm attention to specifically women writers is responsible for Semiotext(e), Native Agents Imprint to be a platform for groundbreaking avant-garde work. Writer and filmmaker, Chris Kraus has explored a variety of different subjects ranging from feminism, gender politics, sex workers, philosophy and love.
Der Vortrag findet in englischer Sprache statt.
Chris Kraus: Jason Rhoades, American Artist
Mittwoch, 6. November 2013, 19 Uhr, Aula
Recently, the ICA Philadelphia showed four installations by Jason Rhoades to be navigated by four interpretive paths or roads: Jason Rhoades, American Artist; Jason the Mason, (a biographical thread named for a childhood nickname); systems (language, scale, indexing, economies), and taboo. The exhibition aims to open up for investigation Rhoades's spectacular, overloaded installations. Immediately accessible and eye-catching, these works are at the same time deeply systematic, detailed, and rewarding of careful engagement. Using neon, plastic buckets, power tools, snaking wires, figurines, sound, and a vast range of other materials, including a V-8 engine, Rhoades's work brings the viewer in with humor, vibrancy, and the provocative audacity of his vision. Rhoades' prodigious work has always been intensely physical, gleefully vulgar, "offensive," but at the same time as affect-less as the demeanor of an idiot savant or made-for-TV serial killer.
Chris Kraus is presenting a lecture on the artist Jason Rhoades. It was originally given at the ICA. She is a writer, filmmaker, and professor of film at Eupean Graduate School in Saas-Fee. She is well known for her role as an influential film and video maker in the New York Downtown scene of the mid eighties. Kraus’ firm attention to specifically women writers is responsible for Semiotext(e), Native Agents Imprint to be a platform for groundbreaking avant-garde work. Writer and filmmaker, Chris Kraus has explored a variety of different subjects ranging from feminism, gender politics, sex workers, philosophy and love.
Der Vortrag findet in englischer Sprache statt.
Susanne Gaensheimer
Vortrag
Susanne Gaensheimer: Der Deutsche Pavillon in Venedig: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh
Dienstag, 5. November 2013, 18 Uhr, Campus Bockenheim, Jügelhaus HB
Masterstudiengang Kuratieren und Kritik
Susanne Gaensheimer setzt in dem Konzept für den diesjährigen Deutschen Pavillon auf der 55. Internationalen Kunstausstellung – La Biennale di Venezia 2013 die kritische Beschäftigung mit der Bedeutung der traditionellen Form nationaler Repräsentation in den Länderpavillons fort, die sie bereits in der Zusammenarbeit mit Christoph Schlingensief für den Deutschen Pavillon 2011 begonnen hatte. Die Kuratorin schlägt vor, das Format des Länderpavillons als ein offenes Konzept und Deutschland nicht als hermetische nationale Einheit, sondern als aktiven Teil eines komplexen, weltweiten Netzwerkes zu verstehen. Aus diesem Grund hat Susanne Gaensheimer vier internationale KünstlerInnen aus unterschiedlichen Ländern eingeladen: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh.
Susanne Gaensheimer ist Kunsthistorikerin und Direktorin des MMK Museum für Moderne Kunst in Frankfurt am Main. Sie ist (zum zweiten Mal nach 2011) Kuratorin für den Deutschen Pavillon auf der 55. Biennale in Venedig 2013.
Susanne Gaensheimer: Der Deutsche Pavillon in Venedig: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh
Dienstag, 5. November 2013, 18 Uhr, Campus Bockenheim, Jügelhaus HB
Masterstudiengang Kuratieren und Kritik
Susanne Gaensheimer setzt in dem Konzept für den diesjährigen Deutschen Pavillon auf der 55. Internationalen Kunstausstellung – La Biennale di Venezia 2013 die kritische Beschäftigung mit der Bedeutung der traditionellen Form nationaler Repräsentation in den Länderpavillons fort, die sie bereits in der Zusammenarbeit mit Christoph Schlingensief für den Deutschen Pavillon 2011 begonnen hatte. Die Kuratorin schlägt vor, das Format des Länderpavillons als ein offenes Konzept und Deutschland nicht als hermetische nationale Einheit, sondern als aktiven Teil eines komplexen, weltweiten Netzwerkes zu verstehen. Aus diesem Grund hat Susanne Gaensheimer vier internationale KünstlerInnen aus unterschiedlichen Ländern eingeladen: Ai Weiwei, Romuald Karmakar, Santu Mofokeng und Dayanita Singh.
Susanne Gaensheimer ist Kunsthistorikerin und Direktorin des MMK Museum für Moderne Kunst in Frankfurt am Main. Sie ist (zum zweiten Mal nach 2011) Kuratorin für den Deutschen Pavillon auf der 55. Biennale in Venedig 2013.
Montag, 1. Juli 2013
Beatriz Colomina
Vortrag
Städelschule Architecture Class
Dean's Honorary Lecture
Beatriz Colomina: The Total Interior: Playboy Architecture 1953–1979
Donnerstag, 4. Juli 2013, 19:30 Uhr, Deutsches Architekturmuseum, Schaumainkai 43
The Dean’s Honorary Lecture 2013 is delivered by world-renowned architectural historian and theorist Beatriz Colomina, professor in History and Theory of Architecture at Princeton University School of Architecture, where she is also the Director of Graduate Studies, Ph.D. Program as well as the founding Director of the Program in Media and Modernity.
Colomina has taught at Princeton since 1988. Her 'Program in Media and Modernity' is a graduate programme that promotes the interdisciplinary study of forms of culture that came to prominence during the last century and looks at the interplay between culture and technology. In 2006-2007 she curated, with a group of Princeton Ph.D. students, the exhibition “Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X” at the Storefront for Art and Architecture in New York and the Canadian Centre for Architecture (CCA) in Montreal. The exhibition has also been shown at, amongst other places, the Museum of Design of Barcelona, the Colegio de Arquitectos de Murcia and the NAI Maastricht . An exhibition catalog has appeared from ACTAR. Colomina has written extensively on questions of architecture and media. Her books include Privacy and Publicity: Modern Architecture as Mass Media (The MIT Press, 1994); Domesticity at War (ACTAR and MIT Press, 2007); Sexuality and Space (Princeton Architectural Press, 1992); and Architectureproduction (Princeton Architectural Press, 1988). Colomina has written numerous other publications and presented lectures throughout the world.
Her lecture on 'The Total Interior' frames how sex, architecture and design have been inextricably intertwined in the pages of Playboy magazine. Sexual fantasies and architectural fantasies were inseparable. Architecture turned out to be more seductive than the playmates; it was the ultimate playmate. It could be argued that, with its massive global circulation and sexualization of architecture, Playboy had more influence on the dissemination of modern design than professional magazines, interiors magazines, and even institutions like the Museum of Modern Art.
Die Veranstaltung findet in englischer Sprache statt.
Städelschule Architecture Class
Dean's Honorary Lecture
Beatriz Colomina: The Total Interior: Playboy Architecture 1953–1979
Donnerstag, 4. Juli 2013, 19:30 Uhr, Deutsches Architekturmuseum, Schaumainkai 43
The Dean’s Honorary Lecture 2013 is delivered by world-renowned architectural historian and theorist Beatriz Colomina, professor in History and Theory of Architecture at Princeton University School of Architecture, where she is also the Director of Graduate Studies, Ph.D. Program as well as the founding Director of the Program in Media and Modernity.
Colomina has taught at Princeton since 1988. Her 'Program in Media and Modernity' is a graduate programme that promotes the interdisciplinary study of forms of culture that came to prominence during the last century and looks at the interplay between culture and technology. In 2006-2007 she curated, with a group of Princeton Ph.D. students, the exhibition “Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X” at the Storefront for Art and Architecture in New York and the Canadian Centre for Architecture (CCA) in Montreal. The exhibition has also been shown at, amongst other places, the Museum of Design of Barcelona, the Colegio de Arquitectos de Murcia and the NAI Maastricht . An exhibition catalog has appeared from ACTAR. Colomina has written extensively on questions of architecture and media. Her books include Privacy and Publicity: Modern Architecture as Mass Media (The MIT Press, 1994); Domesticity at War (ACTAR and MIT Press, 2007); Sexuality and Space (Princeton Architectural Press, 1992); and Architectureproduction (Princeton Architectural Press, 1988). Colomina has written numerous other publications and presented lectures throughout the world.
Her lecture on 'The Total Interior' frames how sex, architecture and design have been inextricably intertwined in the pages of Playboy magazine. Sexual fantasies and architectural fantasies were inseparable. Architecture turned out to be more seductive than the playmates; it was the ultimate playmate. It could be argued that, with its massive global circulation and sexualization of architecture, Playboy had more influence on the dissemination of modern design than professional magazines, interiors magazines, and even institutions like the Museum of Modern Art.
Die Veranstaltung findet in englischer Sprache statt.
Abonnieren
Posts (Atom)