Vortrag
Paul Elliman: Body Alive with Signals
Dienstag, 1. Juli 2014, 19 Uhr, Aula
Paul Elliman *1961 lives and works in London. He will give an informal talk about recent and current work, and his interests in forms of processed language following the human voice, for example, through many of its social and technological guises, often imitating other languages and sounds of the city. As a commissioned artist for the New York biennial Performa 09 his project Sirens Taken for Wonders involved a series of siren-walks through the city on the hunt for emergency vehicle alerts. In 2012 a selection from his typographical archive of discarded letter-like machine parts and found objects was included in the exhibition ‘Ecstatic Alphabets/Heaps of Language’ curated by Laura Hoptman at New York's Museum of Modern Art. In 2013 he published Untitled (September Magazine), a 600 page glossy magazine using found images to explore connections between language and gesture.
Paul Elliman has exhibited internationally, including the XII Baltic Triennial, CAC, Vilnius, LT (2014); KUMU Kunstimuuseum, Tallinn, ES (2013); castillo/coralles, Paris, FR (2013); Henry Art Gallery, Seattle, US (2012-13); Museum of Modern Art, New York, US (2012); Glasgow Centre for Contemporary Art, Glasgow (2011); Marres Centre for Contemporary Art, Maastricht, NL (2010); and Performa, New York, US (2009). He currently has a solo exhibition at Objectif in Antwerp and is taking part in Journal at the ICA in London, curated by Matt Williams.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 24. Juni 2014
Montag, 23. Juni 2014
Peter Fischli & Hans-Ulrich Obrist: Why Airports?
Gespräch
Peter Fischli und Hans-Ulrich Obrist: Why airports?
Samstag, 28. Juni 2014, 16 Uhr, Aula
In Zusammenarbeit mit SAC – Städelschule Architecture Class.
Mit freundlicher Unterstützung durch Pro Helvetia, Schweizer Kulturstiftung.
Peter Fischli and Hans-Ulrich Obrist will talk about the exhibition Lucius Burckhardt and Cedric Price – A stroll through a fun palace at the Swiss Pavilion, curated by Obrist in frame of the 14th International Architecture Exhibition – la Biennale di Venezia 2014.
In a digital time of unlimited access to information, where everyone can be an architect, a curator, an intellectual thinker, Obrist revisits the recent past of architecture through retrospectives of Lucius Burckhardt (1925–2003) and Cedric Price (1934–2003), reflecting on its future in the 21st century. Lucius Burckhardt was a Swiss political economist, sociologist, art historian and planning theorist, known as founding father of ‘strollology’ – his science of the walk. He pioneered an interdisciplinary analysis of man-made environments, discussing both the visible and invisible aspects of our cities, landscapes, political processes and social relations, as well as the long-term effects of design and planning decisions. Cedric Price was guided by a fundamental belief that architecture must ‘enable people to think the unthinkable’. His project Fun Palace (1960–61), conceived as a ‘laboratory of fun’ and ‘university of the streets’, though never realised, established him as one of the UK’s most innovative and thought-provoking architects.
Hans Ulrich Obrist *1968 in Zurich, Switzerland, is co-director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup’ (The Kitchen Show) in 1991 he has curated more than 250 exhibitions. Obrist’s recent publications include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Everything You Always Wanted to Know About Curating But Were Afraid to Ask, Do It: The Compendium, Think Like Clouds, Ai Weiwei Speaks, Sharp Tongues – Loose Lips – Open Eyes – Ears to the Ground, along with new volumes of his Conversation Series.
Peter Fischli *1952 in Switzerland is an artist based in Zurich and Professor for Fine Art at the Städelschule since 2013.
Das Gespräch findet in englischer Sprache statt.
Peter Fischli und Hans-Ulrich Obrist: Why airports?
Samstag, 28. Juni 2014, 16 Uhr, Aula
In Zusammenarbeit mit SAC – Städelschule Architecture Class.
Mit freundlicher Unterstützung durch Pro Helvetia, Schweizer Kulturstiftung.
Peter Fischli and Hans-Ulrich Obrist will talk about the exhibition Lucius Burckhardt and Cedric Price – A stroll through a fun palace at the Swiss Pavilion, curated by Obrist in frame of the 14th International Architecture Exhibition – la Biennale di Venezia 2014.
In a digital time of unlimited access to information, where everyone can be an architect, a curator, an intellectual thinker, Obrist revisits the recent past of architecture through retrospectives of Lucius Burckhardt (1925–2003) and Cedric Price (1934–2003), reflecting on its future in the 21st century. Lucius Burckhardt was a Swiss political economist, sociologist, art historian and planning theorist, known as founding father of ‘strollology’ – his science of the walk. He pioneered an interdisciplinary analysis of man-made environments, discussing both the visible and invisible aspects of our cities, landscapes, political processes and social relations, as well as the long-term effects of design and planning decisions. Cedric Price was guided by a fundamental belief that architecture must ‘enable people to think the unthinkable’. His project Fun Palace (1960–61), conceived as a ‘laboratory of fun’ and ‘university of the streets’, though never realised, established him as one of the UK’s most innovative and thought-provoking architects.
Hans Ulrich Obrist *1968 in Zurich, Switzerland, is co-director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup’ (The Kitchen Show) in 1991 he has curated more than 250 exhibitions. Obrist’s recent publications include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Everything You Always Wanted to Know About Curating But Were Afraid to Ask, Do It: The Compendium, Think Like Clouds, Ai Weiwei Speaks, Sharp Tongues – Loose Lips – Open Eyes – Ears to the Ground, along with new volumes of his Conversation Series.
Peter Fischli *1952 in Switzerland is an artist based in Zurich and Professor for Fine Art at the Städelschule since 2013.
Das Gespräch findet in englischer Sprache statt.
Richard Mosse: The Enclave
Vortrag und Filmvorführung
Richard Mosse
Dienstag, 24. Juni, 19 Uhr, Aula
In his presentation Richard Mosse will go through his forty minute video installation, The Enclave, scene by scene, discussing context, background, and intent.
The Enclave is the culmination of Mosse’s four year project working in eastern Democratic Republic of Congo. The Enclave comprises six monumental double-sided screens installed in a large darkened chamber creating a physically immersive experience. This disorienting and kaleidoscopic installation is intended to formally parallel eastern Congo’s multifaceted conflict, confounding expectations and forcing the viewer to interact spatially from an array of differing viewpoints. Its haunting, visceral soundscape is layered spatially by twelve-point surround sound, composed by Ben Frost from recordings gathered in North and South Kivu. It is a looping, non-linear narrative which documents civilians fleeing massacre, Mai Mai militia preparing for battle, as well as M23 rebels moving on, fighting for, and finally taking the city of Goma. This humanitarian disaster unfolds in a landscape of extraordinary beauty, on the shores of Lake Kivu, which Mosse records using a discontinued military film technology originally designed in WWII to reveal camouflaged enemy installations. This film registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and pink. Mosse employed this film to document a humanitarian disaster in which 5.4 million people have died since 1998, yet which is largely overlooked by the mass media. Frequent massacres, human rights violations, and widespread sexual violence remain unaccounted for. In a kind of advocacy of seeing, Mosse attempts to cast this forgotten tragedy in a new spectrum of light.
Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale School of Art in 2008 and a PG Dip from Goldsmiths in 2005. Mosse represented Ireland at the 2013 Venice Biennale with The Enclave, for which he won the Deutsche Börse Photography Prize. Pulitzer Center on Crisis Reporting co-published his first monograph, Infra. His second monograph, The Enclave, was published by Aperture Foundation. Mosse is a recipient of Yale’s Poynter Fellowship in Journalism (2014), the B3 Award at the Frankfurt Biennale (2013), an ECAS Commission (2013), the Guggenheim Fellowship (2011), and a Leonore Annenberg Fellowship (2008-2010). Foreign Policy Magazine listed Mosse as a Leading Global Thinker of 2013.
Der Vortrag findet in englischer Sprache statt.
Richard Mosse
Dienstag, 24. Juni, 19 Uhr, Aula
In his presentation Richard Mosse will go through his forty minute video installation, The Enclave, scene by scene, discussing context, background, and intent.
The Enclave is the culmination of Mosse’s four year project working in eastern Democratic Republic of Congo. The Enclave comprises six monumental double-sided screens installed in a large darkened chamber creating a physically immersive experience. This disorienting and kaleidoscopic installation is intended to formally parallel eastern Congo’s multifaceted conflict, confounding expectations and forcing the viewer to interact spatially from an array of differing viewpoints. Its haunting, visceral soundscape is layered spatially by twelve-point surround sound, composed by Ben Frost from recordings gathered in North and South Kivu. It is a looping, non-linear narrative which documents civilians fleeing massacre, Mai Mai militia preparing for battle, as well as M23 rebels moving on, fighting for, and finally taking the city of Goma. This humanitarian disaster unfolds in a landscape of extraordinary beauty, on the shores of Lake Kivu, which Mosse records using a discontinued military film technology originally designed in WWII to reveal camouflaged enemy installations. This film registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and pink. Mosse employed this film to document a humanitarian disaster in which 5.4 million people have died since 1998, yet which is largely overlooked by the mass media. Frequent massacres, human rights violations, and widespread sexual violence remain unaccounted for. In a kind of advocacy of seeing, Mosse attempts to cast this forgotten tragedy in a new spectrum of light.
Mosse was born in 1980 in Ireland. He earned an MFA in Photography from Yale School of Art in 2008 and a PG Dip from Goldsmiths in 2005. Mosse represented Ireland at the 2013 Venice Biennale with The Enclave, for which he won the Deutsche Börse Photography Prize. Pulitzer Center on Crisis Reporting co-published his first monograph, Infra. His second monograph, The Enclave, was published by Aperture Foundation. Mosse is a recipient of Yale’s Poynter Fellowship in Journalism (2014), the B3 Award at the Frankfurt Biennale (2013), an ECAS Commission (2013), the Guggenheim Fellowship (2011), and a Leonore Annenberg Fellowship (2008-2010). Foreign Policy Magazine listed Mosse as a Leading Global Thinker of 2013.
Der Vortrag findet in englischer Sprache statt.
Montag, 26. Mai 2014
Rosalind Nashashibi
Vortrag und Filmvorführung
Rosalind Nashashibi
Montag, 2. Juni, 19 Uhr, Aula
Rosalind Nashashibi will be screening a selection of her films with in depth introductions and a following discussion with the audience.
Nashashibi (*1973) is an English artist working in film, sculpture, print and photography. In her films social anthropologies are political questions: how do we work? How do we navigate our own institutions? The questions are approached through examining the archetypal within the everyday or by dropping a mythological event into a real situation. By combining different levels of reality the films seek out the friction created at their borders.
Nashashibi studied in Glasgow School of Arts. She has exhibited internationally over the last decade and has recently had solo exhibitions in New York, Antwerp, Rome and Milan. Nashashibi represented Scotland at the 52nd Venice Biennale, and has shown in Manifesta 7, Sharjah 10 and the 5th Berlin Biennial with Lucy Skaer in their collaboration as Nashashibi/Skaer.
Der Vortrag findet in englischer Sprache statt.
Rosalind Nashashibi
Montag, 2. Juni, 19 Uhr, Aula
Rosalind Nashashibi will be screening a selection of her films with in depth introductions and a following discussion with the audience.
Nashashibi (*1973) is an English artist working in film, sculpture, print and photography. In her films social anthropologies are political questions: how do we work? How do we navigate our own institutions? The questions are approached through examining the archetypal within the everyday or by dropping a mythological event into a real situation. By combining different levels of reality the films seek out the friction created at their borders.
Nashashibi studied in Glasgow School of Arts. She has exhibited internationally over the last decade and has recently had solo exhibitions in New York, Antwerp, Rome and Milan. Nashashibi represented Scotland at the 52nd Venice Biennale, and has shown in Manifesta 7, Sharjah 10 and the 5th Berlin Biennial with Lucy Skaer in their collaboration as Nashashibi/Skaer.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 14. Mai 2014
John Miller: The Ruin of Exchange
Vortrag
John Miller: The Ruin of Exchange
Mittwoch 4. Juni 2014, 19 Uhr, Aula
John Miller's lecture will be a chronological overview of his artistic work, focussing especially on the topics of representation of value, models of subjectivity and the dialectic between the public and private spheres.
John Miller is an artist, writer and critic based in New York and Berlin. His work is currently featured in The Human Factor at the Hayward Gallery in London; he will also take part in a show of public works, B1/A40: die Schönheit der grossen Strasse, with a work in Dortmund. In 2011 Miller received the Wolfgang Hahn Prize from the Society for Contemporary Art at the Museum Ludwig in Cologne. In 2012 JRP-Ringer and the Consortium published a collection of his criticism titled The Ruin of Exchange: Selected Writings as part of their Positions series. He is currently writing a short book on Mike Kelley’s “Educational Complex” for Afterall Books. Miller is a Professor of Professional Practice in Barnard College’s Art History Department.
Der Vortrag findet in englischer Sprache statt.
John Miller: The Ruin of Exchange
Mittwoch 4. Juni 2014, 19 Uhr, Aula
John Miller's lecture will be a chronological overview of his artistic work, focussing especially on the topics of representation of value, models of subjectivity and the dialectic between the public and private spheres.
John Miller is an artist, writer and critic based in New York and Berlin. His work is currently featured in The Human Factor at the Hayward Gallery in London; he will also take part in a show of public works, B1/A40: die Schönheit der grossen Strasse, with a work in Dortmund. In 2011 Miller received the Wolfgang Hahn Prize from the Society for Contemporary Art at the Museum Ludwig in Cologne. In 2012 JRP-Ringer and the Consortium published a collection of his criticism titled The Ruin of Exchange: Selected Writings as part of their Positions series. He is currently writing a short book on Mike Kelley’s “Educational Complex” for Afterall Books. Miller is a Professor of Professional Practice in Barnard College’s Art History Department.
Der Vortrag findet in englischer Sprache statt.
Mads Brügger: The Ambassador
Leider fällt der Vortrag aus persönlichen Gründen aus!
Vortrag und Screening
Mads Brügger: The Ambassador
20. Mai 2014, 19 Uhr, Aula
Mads Brügger will show an Africa stripped of NGOs, Bono, child soldiers and kids with bloated bellies. The kind of people you never see in the documentaries: white businessmen and diplomats, the fat cats in the urban centers, all the people who are in post-colonial Francafrique having a great time. To show this Africa of the affluent, Mads Brügger uses "performative journalism": instead of disguising as a fly on the wall observing neutrally, he dresses for his part and interacts as an agent provocateur. With all the intentions of a journalist to disclose an unnoticed world, he went to CAR as a rich white businessman with diplomatic credentials pursuing all the perks that title brings (like reckless diamond hunts, practicing power misuse) and became a respected member of their society.
Mads Brügger *1972, is a Danish investigative film maker, journalist and TV host. His documentary films have been shown on various film festivals around the world, and 'The Ambassador' was nominated for the Grand Jury prize in the Sundance Film Festival. He is the host of the Danish talk show Den 11.time and the news program Deadline.
Der Vortrag findet in englischer Sprache statt.
Leider fällt der Vortrag aus persönlichen Gründen aus!
Vortrag und Screening
Mads Brügger: The Ambassador
20. Mai 2014, 19 Uhr, Aula
Mads Brügger will show an Africa stripped of NGOs, Bono, child soldiers and kids with bloated bellies. The kind of people you never see in the documentaries: white businessmen and diplomats, the fat cats in the urban centers, all the people who are in post-colonial Francafrique having a great time. To show this Africa of the affluent, Mads Brügger uses "performative journalism": instead of disguising as a fly on the wall observing neutrally, he dresses for his part and interacts as an agent provocateur. With all the intentions of a journalist to disclose an unnoticed world, he went to CAR as a rich white businessman with diplomatic credentials pursuing all the perks that title brings (like reckless diamond hunts, practicing power misuse) and became a respected member of their society.
Mads Brügger *1972, is a Danish investigative film maker, journalist and TV host. His documentary films have been shown on various film festivals around the world, and 'The Ambassador' was nominated for the Grand Jury prize in the Sundance Film Festival. He is the host of the Danish talk show Den 11.time and the news program Deadline.
Der Vortrag findet in englischer Sprache statt.
Leider fällt der Vortrag aus persönlichen Gründen aus!
Dienstag, 13. Mai 2014
Thomas Thiel: On Museum Off Museum
Vortrag Masterstudiengang Kuratieren und Kritik
Thomas Thiel: On Museum Off Museum
Dienstag, 3. Juni 2014, 19 Uhr, Aula
Warum interessieren sich KünstlerInnen wieder verstärkt für das Museum? Welche Rolle spielt dabei der Umgang mit historischen Bildern, Dokumenten und Artefakten? Welchen Einfluss haben künstlerische Interventionen auf Ausstellungskonzepte der Gegenwart? Diesen und anderen Fragen geht der Vortrag am Beispiel des Ausstellungsprojekts »Museum Off Museum« (07. September 2013 – 07. Februar 2014) und vorhergegangenen Präsentationen im Bielefelder Kunstverein nach. Mit einer fragmentarischen Programmstruktur, zwei Ausstellungsperioden, Vorträgen und einem Blog untersuchte »Museum Off Museum« die Aneignung und Erweiterung musealer Praxis, das Museum als Form der künstlerischen Handlung und Reflexionsraum einer globalisierten, medialisierten Welt. Der Vortrag reflektiert das subjektive Potenzial im Umgang mit der Geschichte, wissenschaftlichen Erzähltechniken und ihrer Repräsentation.
Thomas Thiel ist Direktor des Bielefelder Kunstvereins. Er studierte Kulturwissenschaften und Ästhetische Praxis in Hildesheim und Marseille. Er arbeitete für In Between, das offizielle Kunstprojekt der EXPO 2000, und für die Manifesta 4, Europäische Biennale für Zeitgenössische Kunst in Frankfurt am Main. Von 2004 bis 2008 war er Kurator und zuletzt als Leiter des Bereichs Ausstellungen am ZKM, Zentrum für Kunst und Medientechnologie, in Karlsruhe tätig. In Bielefeld kuratierte er Einzelausstellungen mit u. a. Mathieu Kleyebe Abonnenc, David Adamo, Latifa Echakch, Luke Fowler, Dirk Fleischmann, Maryam Jafri, Gabriel Kuri, Maria Loboda, Flo Maak, Gareth Moore, Lili Reynaud-Dewar, Jessica Warboys und Katarina Zdjelar. Seine Themenausstellungen beschäftigten sich mit dem Verhältnis von Kunst und Design (»Beyond Gestaltung«), der Bedeutung diagrammatischer Bilder (»Schaubilder«) oder den Bedingungen des Ausstellens unter globalen Vorzeichen (»Von A nach B, von B nach P«, »Museum Off Museum«). Thomas Thiel ist außerdem Initiator der Ausstellungsreihe »Subjektive Projektionen« (2009-2013), die gegenwärtige Strategien im künstlerischen Film untersuchte und zudem online präsentiert wurde. Er schreibt regelmäßig zu Positionen der Gegenwartskunst und ist Herausgeber zahlreicher Ausstellungspublikationen. Sein Programm für den Bielefelder Kunstverein wurde mit dem ADKV-ART COLOGNE Preis für Kunstvereine 2014 ausgezeichnet.
Der Vortrag findet in englischer Sprache statt.
–––
Why is there again a strong interest among artists in the »museum«? What kind of role are historical images documents, images and artifacts playing? What influence have artistic interventions within museums and on exhibition concepts in the present day? This talk revisits these and other questions of the exhibition »Museum Off Museum« as well as of previous presentations at the Bielefelder Kunstverein. Through a fragmentary program structure, two exhibition periods, lectures and a blog »Museum Off Museum« was investigating in an appropriation and expansion of the museum’s practice, in the museum as an artistic tool as well as a concept for reflection within a global, medialized world. The lecture will reflect on the subjective potential in dealing with history, academic narratives and their representation.
Thomas Thiel is the director of the Bielefelder Kunstverein. He studied Cultural Sciences and Aesthetical Practice in Hildesheim (Germany) and Marseille (France). Thiel worked for In Between, the art project of EXPO 2000 in Hanover and Manifesta 4, European Biennial for Contemporary Art in Frankfurt/Main. From 2004 to 2008 he was a curator and head of the exhibition department at ZKM|Center for Art and Media Karlsruhe. In Bielefeld he curated solo presentations with amongst others Mathieu Kleyebe Abonnenc, David Adamo, Latifa Echakch, Dirk Fleischmann, Luke Fowler, Maryam Jafri, Gabriel Kuri, Maria Loboda, Flo Maak, Gareth Moore, Lili Reynaud-Dewar, Jessica Warboys and Katarina Zdjelar. His thematic exhibitions were dealing with the relation of contemporary art and design (»Beyond Gestaltung«), the relevance of diagrammatic images (»Schaubilder«) or the condition of exhibition making within a global context (»Von A nach B, von B nach P«, »Museum Off Museum«). Thomas Thiel initiated the exhibition series »Subjektive Projections« (2009-2013), which presented current strategies in artistic films online. Thomas Thiel writes regularly on contemporary art and is editor of numerous exhibition publications. His program for Bielefelder Kunstverein has been awarded with the ADKV-ART COLOGNE Prize for Kunstvereine 2014.
The lecture will be in English.
Thomas Thiel: On Museum Off Museum
Dienstag, 3. Juni 2014, 19 Uhr, Aula
Warum interessieren sich KünstlerInnen wieder verstärkt für das Museum? Welche Rolle spielt dabei der Umgang mit historischen Bildern, Dokumenten und Artefakten? Welchen Einfluss haben künstlerische Interventionen auf Ausstellungskonzepte der Gegenwart? Diesen und anderen Fragen geht der Vortrag am Beispiel des Ausstellungsprojekts »Museum Off Museum« (07. September 2013 – 07. Februar 2014) und vorhergegangenen Präsentationen im Bielefelder Kunstverein nach. Mit einer fragmentarischen Programmstruktur, zwei Ausstellungsperioden, Vorträgen und einem Blog untersuchte »Museum Off Museum« die Aneignung und Erweiterung musealer Praxis, das Museum als Form der künstlerischen Handlung und Reflexionsraum einer globalisierten, medialisierten Welt. Der Vortrag reflektiert das subjektive Potenzial im Umgang mit der Geschichte, wissenschaftlichen Erzähltechniken und ihrer Repräsentation.
Thomas Thiel ist Direktor des Bielefelder Kunstvereins. Er studierte Kulturwissenschaften und Ästhetische Praxis in Hildesheim und Marseille. Er arbeitete für In Between, das offizielle Kunstprojekt der EXPO 2000, und für die Manifesta 4, Europäische Biennale für Zeitgenössische Kunst in Frankfurt am Main. Von 2004 bis 2008 war er Kurator und zuletzt als Leiter des Bereichs Ausstellungen am ZKM, Zentrum für Kunst und Medientechnologie, in Karlsruhe tätig. In Bielefeld kuratierte er Einzelausstellungen mit u. a. Mathieu Kleyebe Abonnenc, David Adamo, Latifa Echakch, Luke Fowler, Dirk Fleischmann, Maryam Jafri, Gabriel Kuri, Maria Loboda, Flo Maak, Gareth Moore, Lili Reynaud-Dewar, Jessica Warboys und Katarina Zdjelar. Seine Themenausstellungen beschäftigten sich mit dem Verhältnis von Kunst und Design (»Beyond Gestaltung«), der Bedeutung diagrammatischer Bilder (»Schaubilder«) oder den Bedingungen des Ausstellens unter globalen Vorzeichen (»Von A nach B, von B nach P«, »Museum Off Museum«). Thomas Thiel ist außerdem Initiator der Ausstellungsreihe »Subjektive Projektionen« (2009-2013), die gegenwärtige Strategien im künstlerischen Film untersuchte und zudem online präsentiert wurde. Er schreibt regelmäßig zu Positionen der Gegenwartskunst und ist Herausgeber zahlreicher Ausstellungspublikationen. Sein Programm für den Bielefelder Kunstverein wurde mit dem ADKV-ART COLOGNE Preis für Kunstvereine 2014 ausgezeichnet.
Der Vortrag findet in englischer Sprache statt.
–––
Why is there again a strong interest among artists in the »museum«? What kind of role are historical images documents, images and artifacts playing? What influence have artistic interventions within museums and on exhibition concepts in the present day? This talk revisits these and other questions of the exhibition »Museum Off Museum« as well as of previous presentations at the Bielefelder Kunstverein. Through a fragmentary program structure, two exhibition periods, lectures and a blog »Museum Off Museum« was investigating in an appropriation and expansion of the museum’s practice, in the museum as an artistic tool as well as a concept for reflection within a global, medialized world. The lecture will reflect on the subjective potential in dealing with history, academic narratives and their representation.
Thomas Thiel is the director of the Bielefelder Kunstverein. He studied Cultural Sciences and Aesthetical Practice in Hildesheim (Germany) and Marseille (France). Thiel worked for In Between, the art project of EXPO 2000 in Hanover and Manifesta 4, European Biennial for Contemporary Art in Frankfurt/Main. From 2004 to 2008 he was a curator and head of the exhibition department at ZKM|Center for Art and Media Karlsruhe. In Bielefeld he curated solo presentations with amongst others Mathieu Kleyebe Abonnenc, David Adamo, Latifa Echakch, Dirk Fleischmann, Luke Fowler, Maryam Jafri, Gabriel Kuri, Maria Loboda, Flo Maak, Gareth Moore, Lili Reynaud-Dewar, Jessica Warboys and Katarina Zdjelar. His thematic exhibitions were dealing with the relation of contemporary art and design (»Beyond Gestaltung«), the relevance of diagrammatic images (»Schaubilder«) or the condition of exhibition making within a global context (»Von A nach B, von B nach P«, »Museum Off Museum«). Thomas Thiel initiated the exhibition series »Subjektive Projections« (2009-2013), which presented current strategies in artistic films online. Thomas Thiel writes regularly on contemporary art and is editor of numerous exhibition publications. His program for Bielefelder Kunstverein has been awarded with the ADKV-ART COLOGNE Prize for Kunstvereine 2014.
The lecture will be in English.
Montag, 5. Mai 2014
Sven Augustijnen: Spectres
Filmvorführung
Sven Augustijnen: Spectres
Dienstag, 13. Mai 2014, 19 Uhr, Aula
Fifty years after his assassination, Patrice Lumumba, Prime Minister of the newly independent Congo, is still haunting Belgium. Through commemorations, encounters and a return visit, a top-ranking Belgian civil servant who was in Élisabethville (from 1966: Lubumbashi) on that tragic day of 17 January 1961 attempts to exorcise the ghosts of the past. To the sound of St John Passion by J.S. Bach, Sven Augustijnens film "Spectres" plunges us into one of the darkest days of the Belgian Congo’s decolonisation. An examination of the biopolitical body, this feature-length film exposes the fine line separating legitimation and historiography and the traumatic question of responsibility and guilt.
Sven Augustijnen *1970, lives and works in Brussels. His films, publications and installations on political, historical and social themes constantly challenge the genre of the documentary, reflecting a wider interest in historiography and a predilection for the nature of storytelling: "Historiography is by no means a natural phenomenon. The way we use stories, images and fiction to construct reality and history fascinates me."
He had recently solo-shows at the Kunsthalle Bern; Wiels, Centre for Contemporary Art, Brussels; de Appel, arts centre, Amsterdam; Malmö Konsthall; Vox, Centre pour l'Image contemporaine, Montréal. Upcoming group-shows include Once Documentary, Camera Austria, Graz; The Unfinished Conversation, The Power Plant, Toronto; Form and Symptom, MuZee, Ostend. Sven Augustijnen is represented by Jan Mot, Brussels/Mexico City and is a founding member of Auguste Orts, Brussels.
Augustijnen will screen his film "Spectres" and a discussion will follow afterwards.
Der Vortrag findet in englischer Sprache statt.
Sven Augustijnen: Spectres
Dienstag, 13. Mai 2014, 19 Uhr, Aula
Fifty years after his assassination, Patrice Lumumba, Prime Minister of the newly independent Congo, is still haunting Belgium. Through commemorations, encounters and a return visit, a top-ranking Belgian civil servant who was in Élisabethville (from 1966: Lubumbashi) on that tragic day of 17 January 1961 attempts to exorcise the ghosts of the past. To the sound of St John Passion by J.S. Bach, Sven Augustijnens film "Spectres" plunges us into one of the darkest days of the Belgian Congo’s decolonisation. An examination of the biopolitical body, this feature-length film exposes the fine line separating legitimation and historiography and the traumatic question of responsibility and guilt.
Sven Augustijnen *1970, lives and works in Brussels. His films, publications and installations on political, historical and social themes constantly challenge the genre of the documentary, reflecting a wider interest in historiography and a predilection for the nature of storytelling: "Historiography is by no means a natural phenomenon. The way we use stories, images and fiction to construct reality and history fascinates me."
He had recently solo-shows at the Kunsthalle Bern; Wiels, Centre for Contemporary Art, Brussels; de Appel, arts centre, Amsterdam; Malmö Konsthall; Vox, Centre pour l'Image contemporaine, Montréal. Upcoming group-shows include Once Documentary, Camera Austria, Graz; The Unfinished Conversation, The Power Plant, Toronto; Form and Symptom, MuZee, Ostend. Sven Augustijnen is represented by Jan Mot, Brussels/Mexico City and is a founding member of Auguste Orts, Brussels.
Augustijnen will screen his film "Spectres" and a discussion will follow afterwards.
Der Vortrag findet in englischer Sprache statt.
Clemens von Wedemeyer: Casting Memory
Vortrag
Clemens von Wedemeyer: Casting Memory
Mittwoch, 7. Mai 2014, 19 Uhr, Aula
This talk will be about manifest interactions of film and history, focussing on von Wedemeyer’s last multi-film exhibition „The Cast“ Maxxi, Rome (2013) with more references to the feature film installation shown at documenta(13): „Muster“ as well as earlier short films.
Clemens von Wedemeyer was born in 1974 in Göttingen, Germany. The artist creates installations and videos as a spatial form of the essay-film, full of historical references and metaphoric images as if they were documentaries. The linearity of the narrative, however, is often interrupted in order to show the changes and developments within the structures of power that, in his films, are primarily reflected on architecture and social attitudes.
Clemens von Wedemeyer lives and works in Berlin. After studying photography, in 2002 he graduated from the HGB Academy of Visual Arts Leipzig. Solo exhibitions (selected): Kunstverein Braunschweig (2014, upcoming), MAXXI, Rome (2013); The Fourth Wall, St. Paul Gallery, Auckland, Dunedin Public Art Gallery, Dunedin, New Zealand; Paco das Artes, Sao Paolo (2012), The Repetition Festival Show, Galleria Civica Trento, Trento (2011); Sun Cinema, Galerie Jocelyn Wolff, Paris (2011), Metropolis, Report from China, FrankfurterKunstverein, Frankfurt (2011). Group exhibitions (selected): dOCUMENTA (13), Kassel (2012) Intense Proximity, La Triennale Paris, Palais de Tokyo, Paris (2012); Eurasia: Geographic cross-overs in art, MART, Rovereto (2008), 4th Biennial of Contemporary Art, Berlin (2006), Moscow Biennial, 2005
Der Vortrag findet in englischer Sprache statt.
Clemens von Wedemeyer: Casting Memory
Mittwoch, 7. Mai 2014, 19 Uhr, Aula
This talk will be about manifest interactions of film and history, focussing on von Wedemeyer’s last multi-film exhibition „The Cast“ Maxxi, Rome (2013) with more references to the feature film installation shown at documenta(13): „Muster“ as well as earlier short films.
Clemens von Wedemeyer was born in 1974 in Göttingen, Germany. The artist creates installations and videos as a spatial form of the essay-film, full of historical references and metaphoric images as if they were documentaries. The linearity of the narrative, however, is often interrupted in order to show the changes and developments within the structures of power that, in his films, are primarily reflected on architecture and social attitudes.
Clemens von Wedemeyer lives and works in Berlin. After studying photography, in 2002 he graduated from the HGB Academy of Visual Arts Leipzig. Solo exhibitions (selected): Kunstverein Braunschweig (2014, upcoming), MAXXI, Rome (2013); The Fourth Wall, St. Paul Gallery, Auckland, Dunedin Public Art Gallery, Dunedin, New Zealand; Paco das Artes, Sao Paolo (2012), The Repetition Festival Show, Galleria Civica Trento, Trento (2011); Sun Cinema, Galerie Jocelyn Wolff, Paris (2011), Metropolis, Report from China, FrankfurterKunstverein, Frankfurt (2011). Group exhibitions (selected): dOCUMENTA (13), Kassel (2012) Intense Proximity, La Triennale Paris, Palais de Tokyo, Paris (2012); Eurasia: Geographic cross-overs in art, MART, Rovereto (2008), 4th Biennial of Contemporary Art, Berlin (2006), Moscow Biennial, 2005
Der Vortrag findet in englischer Sprache statt.
Dienstag, 29. April 2014
Peter Osborne: Art of the Contemporary: From Memory to History
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.
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.
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.
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