Vortrag
Raimundas Malašauskas
Mittwoch, 4. Februar 2015, 19 Uhr, Aula
The story of complex objects is told by apparently random structures that organize the attention and intensity of all that is around. That means you always have to watch out for them not to fall on your head. Yet on the positive side, it means that everything is here and available and you need no striving. You only need interferences and deviations to be able to move through them, in unexpected jerks and flows, a bit like the axolotl and the way it manages to swim without coordinating its limbs – sometimes it just freezes for a while. And this talk too is a projection device for a three-dimensional, possibly inconspicuous image to emerge, imprinted on time as their recording medium.
Raimundas Malašauskas was born in Vilnius (Lithuania), curates in the world, writes occasionally. His most recent public projects include In My Previous Life I Wanted To Be a Tablet, Instituto de Vision, Bogota (2015); Tomorrow night I walked to a dark black star, Universidad Di Tella, Buenos Aires (2014); and Oo, Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013).
Der Vortrag findet in englischer Sprache statt.
Dienstag, 3. Februar 2015
Montag, 26. Januar 2015
Stuart Bailey
Vortrag
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Stuart Bailey: A * with a Scottish accent
Mittwoch, 28. Januar 2015, 19 Uhr, Aula
A talk that traces the genealogy of a work-in progress by The Serving Library, a *speaking asterisk*. This asterisk cross-pollinates a number of prior projects that were respectively concerned with: (a) what it might mean to communicate without language; (b) a typeface that consists in a number of meta-parameters rather than a fixed family; and (c) the late Scottish writer Gilbert Adair's overarching project of 'continuation'. The whole is offered as a timely instance of what we've come to think of as 'publishing in its most exploded sense'.
Stuart Bailey’s work circumscribes various aspects of graphic design, writing and editing, most consistently in close collaboration with artists. He co-edits the journal Bulletins of The Serving Library which follows the trajectory of its predecessor Dot Dot Dot. He works together with David Reinfurt under the name Dexter Sinister, and is currently involved in setting up a institution called The Serving Library with David along with Angie Keefer. He lives in Liverpool, UK.
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw
Vortrag
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Isabelle Graw: Portrait of the Artist as Strategic Painter. Notes on Avery Singer´s work.
Dienstag, 27. Januar 2015, 19 Uhr, Aula
Painting has since the 1990´s been regarded as an accepted - and even radical - form of social, conceptual and institutional critique. It came into fashion again under the slogan of network painting, a loose term which imagined the artist´s personal social sphere, and the passage of the art work within it, as intrinsic to the work´s materials and meanings. While finally breaking with the modernist idea of a pure and clearly delimited medium, this approach introduced new problems. It delivered precisely those social relations that today´s new economy is busy absorbing. Avery Singer´s paintings will be presented as a way of addressing, even dramatizing these problems artistically without offering a way out or a solution.
Isabelle Graw teaches art history at the Academy of Fine Arts, Städelschule in Frankfurt am Main. Among her most recent publications are "High Price. Art between the Market and Celebrity Culture" (2010), "Texte zur Kunst. Essays, Reviews, Interviews (2011), "Thinking through Painting: Reflexivity and Agency beyond the Canvas" (co-editor, 2012) and "Über Malerei. Eine Diskussion" (with Peter Geimer, 2012)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 20. Januar 2015
Isla Leaver-Yap
Vortrag
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Isla Leaver-Yap
Mittwoch, 21. Januar 2015, 19 Uhr, Aula
Isla Leaver-Yap is an independent curator and scholar who works with artists to produce essays, books, exhibitions, and events. She recently produced the second edition of the Artists Moving Image Festival at Tramway Glasgow, and she regularly works with LUX Artists Moving Image Agency, and Electra, both located in London. She is currently working on upcoming book projects with artists Andrea Büttner and James Richards. Recent project include work with Marcel Broodthaers, Maeve Connolly, Moyra Davey, Maria Fusco, Florrie James, Derek Jarman, Sam Korman, Park McArthur, Lucy McKenzie, Charlotte Prodger, James Richards, Anne Charlotte Robertson, Jack Smith, Lucy Skaer, Patrick Staff, Cara Tolmie, Sue Tompkins, and Dena Yago.
In New York, Leaver-Yap was a guest curator of the exhibition series Short Stories at SculptureCenter; was a co-founding member of CAGE; and presented projects at Artists Space, Artists Institute, MoMA PS1, and Anthology Film Archives. She previously worked at the Institute of Contemporary Arts, London, where she co-organized the ICA’s landmark exhibition season, Nought to Sixty; founded the ongoing Artists Film Club series; and curated Rosalind Nashashibi’s solo show. She recently moved from Brooklyn to Glasgow, where she is currently guest editing the forthcoming issue of Maria Fusco’s art writing journal, The Happy Hypocrite.
Leaver-Yap received an MA in Art History and English Literature, and an MSc in Art History Research, both from University of Edinburgh. In 2013 she was a finalist in the Premio Lorenzo Bonaldi Prize for international curators under 30. She has served as guest faculty at the Stone Summer School (School of the Art Institute of Chicago), and the Banff Visual Arts Program.
Der Vortrag findet in englischer Sprache statt.
Montag, 8. Dezember 2014
Ellen Blumenstein
Vortrag Curatorial Studies
Ellen Blumenstein: Why Curating Thematically: Fire and Forget, an Exhibition Project at KW
Mittwoch, 10. Dezember 2014, 19 Uhr, Aula
"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition Fire and Forget takes the military expression as the starting point for an examination of the conventional ideas about war and armed force. The project revolves around the new dimensions of violence that go with the new technologies, and the new strategies required by this central challenge to our future coexistence. The exhibition is oriented towards the most visible agent of violence: weapons. Fire and Forget applies the means of art to address the long-term effects of these new weapons on the human psyche. The exhibition looks at the political aporia this new detachment between physical violence and imminent threat involves and at the meaning that history, recollection and forgetting may have for the outbreak or avoidance of violence under these new conditions.
Ellen Blumenstein *1976 in Witzenhausen, Germany lives and works in Berlin. Blumenstein has been chief curator of KW Institute for contemporary art, Berlin since January 2013. In her first year, she realized the exhibitions "Relaunch", "Kader Attia: Repair. 5 Acts" and "Real Emotions: Thinking in Film", as well as launching comprehensive public programs and professional partnerships. In her second year she premiered the first solo exhibitions in Germany of artists Ryan Trecartin, Kate Cooper, Channa Horwitz and Elin Hansdottir. Before KW, she was an independent curator, member of the curatorial collective THE OFFICE and founder of the project space Salon Populaire. Between 1998-2005 she worked as a curator for KW Institute for Contemporary Art, where she realized the exhibition project "Regarding Terror: The RAF-Exhibition" (with Klaus Biesenbach, Felix Ensslin, 2005). Since, she curated the exhibition "Between Two Deaths" at ZKM in Karlsruhe (with Felix Ensslin, 2007), and in 2011 she curated the Icelandic Pavilion at the Venice Biennial (Libia Castro and "lafur "lafsson).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 27. November 2014
Josef Strau
Vortrag
Josef Strau
Mittwoch, 3. Dezember 2014, 19 Uhr, Aula
The lecture can be understood as the second part of a lecture Josef Strau did in Städelschule already in 2011. It could be seen like a lecture but more as an exercise in extemporaneous talk, thus reintroducing a model of working, that appears a dominant figure in many of his productions, like in writing, exhibiting or jewelry making, albeit always following predetermined or ready made story lines, that interweave issues of art production, history, social hierarchy, theology or of traveling. In a similar way in his exhibition and publication The New World Josef Strau recently used fragments of historic first encounter reports of Europeans with Native Americans to retell in an improvised mode of production his own story of gratitude through moments of contemporary encounters within the United States and Mexico, trying to create through these both complex or sometimes simplified narratives a seamless whole of a partly fictional fantasy of redemption in contemporary culture.
Josef Strau worked in the last years in different roles, mostly as artist and as writer, but as well as jeweler, curator and art space organizer. Recent solo exhibitions include The New World, The Application, Renaissance Society, Chicago 2014 and House of Gaga, Mexico City 2013 and Greene Naftali Gallery, New York, 2012. In 2002, Strau founded Galerie Meerrettich, an independent Berlin gallery that closed in 2006. Strau is also a writer, not only in most of his own art production but also contributing to independently produced art publications, catalogue essays and art magazines.
Der Vortrag findet in englischer Sprache statt.
REN_STRAU_Poster_web.pdf
Josef Strau
Mittwoch, 3. Dezember 2014, 19 Uhr, Aula
The lecture can be understood as the second part of a lecture Josef Strau did in Städelschule already in 2011. It could be seen like a lecture but more as an exercise in extemporaneous talk, thus reintroducing a model of working, that appears a dominant figure in many of his productions, like in writing, exhibiting or jewelry making, albeit always following predetermined or ready made story lines, that interweave issues of art production, history, social hierarchy, theology or of traveling. In a similar way in his exhibition and publication The New World Josef Strau recently used fragments of historic first encounter reports of Europeans with Native Americans to retell in an improvised mode of production his own story of gratitude through moments of contemporary encounters within the United States and Mexico, trying to create through these both complex or sometimes simplified narratives a seamless whole of a partly fictional fantasy of redemption in contemporary culture.
Josef Strau worked in the last years in different roles, mostly as artist and as writer, but as well as jeweler, curator and art space organizer. Recent solo exhibitions include The New World, The Application, Renaissance Society, Chicago 2014 and House of Gaga, Mexico City 2013 and Greene Naftali Gallery, New York, 2012. In 2002, Strau founded Galerie Meerrettich, an independent Berlin gallery that closed in 2006. Strau is also a writer, not only in most of his own art production but also contributing to independently produced art publications, catalogue essays and art magazines.
Der Vortrag findet in englischer Sprache statt.
REN_STRAU_Poster_web.pdf
Mittwoch, 26. November 2014
Elif Erkan & Fabian Schöneich
Gespräch
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Elif Erkan & Fabian Schöneich
Dienstag, 2. Dezember 2014, 19 Uhr, Aula
On the occasion of her exhibition Konzentration der Kräfte, German-Turkish artist Elif Erkan will talk with Fabian Schöneich, curator of Portikus, about the function of objects as reservoirs of memory. In her sculptural works, Erkan directs our attention away from the original purpose or provenance of daily objects and toward their social connotations: that mental image we see as we are confronted with these objects. The talk will focus on daily objects like tableware and cloth and their use in very bitter-sweet moments of life.
Das Gespräch findet in englischer Sprache statt.
Montag, 17. November 2014
David Ruy
Vortrag
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
David Ruy: With Regard to the Real
Montag, 24. November 2014, 19 Uhr, Aula
There’s nothing worse for the architect than the phrase, “That’s not realistic.” That simple phrase can be a shorthand for many things: it’s too costly, it looks structurally unsound, it won’t work with the program, no one will know how to build it, etc. However, the most interesting version of why something seems unrealistic is this one: “It looks weird.” In other words, the proposed architecture doesn’t reflect how reality should look. Ever since the publication of Immanuel Kant’s Critique of Pure Reason, but perhaps long before that as well, we’ve had reasons to doubt the mind’s ability to possess absolute knowledge. Even in antiquity, Plato describes our fate as one where we’re stuck in a world of shadows, doomed to never see things as they are. What’s interesting to me is that this has never been fully digested by our practices—all of which are built on assumptions about what constitutes the real. This is where philosophy becomes very valuable for questioning some of these assumptions. We will always have to assume some things about the real, but sometimes, our assumptions become too static and unproductive. Sometimes we need the real to change. If in fact we have no access to the thing itself, whatever we think the real is pertains more to how we think the real should look, rather than what it is in an absolute sense. Because of this, there is a representational problem with regard to the real, and this is where I think architecture is at its best. There is no other human practice that is so much about the problem of the real. Architecture is the first thing that tells us what reality looks like.
David Ruy is an architect, theorist, and director of Ruy Klein in New York City. Ruy Klein examines contemporary problems at the intersection of architecture, nature, and technology. Encompassing a wide array of experimentation, projects study the mutual imbrications of artificial and natural regimes that are shaping an ever more synthetic world. Widely published and exhibited, Ruy Klein has been the recipient of numerous awards recognizing the firm as one of the leading experimental practices in architecture today. David received his M Arch from Columbia University and his BA from St. John’s College with a concentration in philosophy and mathematics. David is currently an Associate Professor at the Graduate School of Architecture and Urban Design at Pratt Institute.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 13. November 2014
Zasha Colah
Vortrag Masterstudiengang Kuratieren und Kritik
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Zasha Colah: The Curatorial Practices of Clark House Initiative Bombay.
Mittwoch, 19. November 2014, 19 Uhr, Aula
Zasha Colah will reflect on notions of cultural transference and collective imagination in situations of political exigency, tracing a path through her most recent exhibitions and curatorial writing, framing questions about the role and premise of curatorial work. The talk will consider the political and philosophic motivations of choreography and the possibilities of fiction, to reflect on cultural sovereignty and the way works of culture address injustice and the law. Colah’s curatorial projects point to pending or under-represented art historical narratives that find common inheritances and solidarities beyond India and the subcontinent.
Zasha Colah co-founded the Clark House Initiative, a curatorial collaborative and a union of artists, in Mumbai in 2010, and a collaborative called ‘blackrice’ in the Indian state of Nagaland in 2008. She was the curator of 20th-century Indian Art at the CSMVS Museum in Mumbai, formerly known as the Prince of Wales Museum of Western India, after completing degrees in art history at Oxford and curatorial practice at RCA, London. Prior to this she worked on public programs at the National Gallery of Modern Art (2004-2005) in Mumbai.
The Indian, Mumbai-based curator Zasha Colah is the first grantee of the program 'Curators in Residence: Curating Connections’, an initiative by KfW Stiftung and Berliner Künstlerprogramm/DAAD. It provides emerging curators from Latin America, Africa, the Middle East and Asia with the opportunity to spend several months in Berlin. Besides encouraging research and critical reflection, the program facilitates encounters between those working in arts and culture. The curators-in-residence program of KfW Stiftung seeks to stimulate intercultural dialogue in curatorial practice. In addition to the Berlin program ‘Curating Connections’ a second program in Frankfurt, ‘Curating Collections’, has started in collaboration with the Weltkulturen Museum.
Der Vortrag findet in englischer Sprache statt.
Montag, 10. November 2014
Gabriel Lester
Vortrag
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Gabriel Lester: Body Language
Dienstag, 11. November 2014, 19 Uhr, Aula
Gabriel Lester’s lecture titled Body Language addresses the notion of language articulated through performance, sculpture and architecture. As a subdivision of the broader concept of Nonverbal Communication, the proposition is that: ”if a work of art has a body, it consequently must have a language, too”.
In his lecture, Lester will focus on such a notion of body language, through his body of work. A representation of a broad spectrum of his artworks, actions and inventions will illustrate and entertain, as well as provoking ideas about how to read, how to act and how to relate.
Lester’s artwork, films and installations originate from a desire to tell stories and construct environments that support these stories or propose their own narrative interpretation. In early years this led to writing prose and composing electronic music. Later, after studying cinema and eventually fine arts, his artworks became what could be typified as cinematographic, without necessarily employing film or video. Like cinema, Lester’s practice has come to embrace all imaginable media and occupy both time and space. The artworks propose a tension span and are either implicitly narrative, explicitly visual or both at once. These works seldom convey any explicit message or singular idea, but rather propose ways to relate to the world, how it is presented and what mechanisms and components constitute our perception and understanding of it. By dissecting, editing, cutting up, repositioning and forcing perspective, Lester aspires to captivate and engage. Ultimately his artworks suggest both rational consciousness as well as associative magic thought.
Gabriel Lester was born in Amsterdam (1972) where he currently lives and works. His artworks consist of installations, performances, film and video. Other activities include commissioned artworks for public space, film directing, teaching, writing, and sound and video editing.
Lester has exhibited at the Boijmans Van Beuningen, Rotterdam; Dilzis Rodeo Gallery, and SALT, Istanbul; Bloomberg Space, and IBID, London; Gallery BirteKleeman, Berlin; Bonniers Kusthalle, Stockholm; Wako Works of Art, Tokyo; Schirn Kunsthalle, Frankfurt; Nam June Paik Art Centre, Seoul; Sao Paulo Bienal 2010; Performa 11 Biennial, New York; Kadist Foundation, Paris; Kunsthalle Bern; MACCA San Francisco; Liverpool Biennial 2008; Biennale di Venezia 2007/2013; Documenta 13; Stedelijk Museum Amsterdam, Bonner Kunstverein - among many others.
Der Vortrag findet in englischer Sprache statt.
Freitag, 31. Oktober 2014
Tom McCarthy & Clémentine Deliss
Gespräch
Tom McCarthy & Clémentine Deliss: Just a Lump of Some Black Substance
Donnerstag, 6. November 2014, 19 Uhr, Aula
Tom McCarthy *1969 lives in London. His first two novels, Remainder and Men In Space, have been published internationally to much acclaim. Remainder, winner of the Believer Prize 2008, is currently being adapted for film by FILM 4. Tom's latest novel C was shortlisted for the Booker Prize in 2010 and went on to win the highly valued new Win Windham-Campbell award in 2013.
McCarthy is also known for the reports, manifestos and media interventions that he has made as General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network. A fluent commentator on both written and visual arts, Tom has made guest appearances on BBC Radio 4’s Today programme, and writes for a wide variety of print publications such as the Independent, London Review of Books, TLS, and Another Magazine. His non-fiction book Tintin and the Secret of Literature was praised as innovative work of literary criticism.
Clémentine Deliss is a curator and publisher who has been the director of the Weltkulturen Museum in Frankfurt am Main since 2010. In 2005, she published the first edition of Remainder by Tom McCarthy as part of her Metronome and Metronome Press, Paris, initiatives. Deliss studied contemporary art and social anthropology in Vienna, London and Paris and holds a PhD from the University of London (1988, SOAS). Her curatorial work extends beyond exhibitions and has included publishing and research.
Die Veranstaltung findet in englischer Sprache statt.
Tom McCarthy & Clémentine Deliss: Just a Lump of Some Black Substance
Donnerstag, 6. November 2014, 19 Uhr, Aula
Tom McCarthy *1969 lives in London. His first two novels, Remainder and Men In Space, have been published internationally to much acclaim. Remainder, winner of the Believer Prize 2008, is currently being adapted for film by FILM 4. Tom's latest novel C was shortlisted for the Booker Prize in 2010 and went on to win the highly valued new Win Windham-Campbell award in 2013.
McCarthy is also known for the reports, manifestos and media interventions that he has made as General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network. A fluent commentator on both written and visual arts, Tom has made guest appearances on BBC Radio 4’s Today programme, and writes for a wide variety of print publications such as the Independent, London Review of Books, TLS, and Another Magazine. His non-fiction book Tintin and the Secret of Literature was praised as innovative work of literary criticism.
Clémentine Deliss is a curator and publisher who has been the director of the Weltkulturen Museum in Frankfurt am Main since 2010. In 2005, she published the first edition of Remainder by Tom McCarthy as part of her Metronome and Metronome Press, Paris, initiatives. Deliss studied contemporary art and social anthropology in Vienna, London and Paris and holds a PhD from the University of London (1988, SOAS). Her curatorial work extends beyond exhibitions and has included publishing and research.
Die Veranstaltung findet in englischer Sprache statt.
Donnerstag, 30. Oktober 2014
El Hadji Sy & Philippe Pirotte
Gespräch
El Hadji Sy & Philippe Pirotte
Dienstag, 4. November 2014, 19 Uhr, Aula
El Hadji Sy was born 1954 in Dakar and studied Fine Art at the Ecole Nationale des Beaux-Arts in Dakar. As a painter, curator, and cultural activist, El Hadji Sy’s interdisciplinary practice represents a pioneering model within the context of post-Independence Africa. Exhibited internationally as a painter since the late-1970s and hailed by the late Senegalese poet and President, Léopold Sédar Senghor, he is equally known for his rebellious attitude towards state cultural policy. In his capacity as artist and activist, El Hadji Sy co-founded the avant-garde performance group Laboratoire AGIT’art, was the lead instigator of the international artist-led Tenq workshops and Villages des Arts in Dakar, and a key collaborator of the interventionist group Huit Facettes. Between 1985-89, he was commissioned by the Weltkulturen Museum in Frankfurt to develop a new collection of Senegalese art and to co-edit a critical anthology on visual practice in Senegal. In the mid-1990s, his work as artist-curator was presented at the Whitechapel Gallery London and Konsthalle Malmö in Seven Stories about Modern Art in Africa, and he took part in several international exhibitions. Most recently, for the 31st Bienal of São Paulo, Sy developed a 16-metre-long painting-installation to be activated by dancers on the theme of marine archaeology.
Philippe Pirotte *1972, is a Belgian art historian, critic, curator of numerous international exhibitions and since 2014 Rector of Staatliche Hochschule für Bildende Künste – Städelschule Frankfurt am Main. He studied Art History at Ghent University. In 1999 he co-founded the art center objectif_exhibitions in Antwerp, from 2005 to 2011, he was Director of Kunsthalle Bern and since 2012 he is Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. As a writer, Pirotte contributed a.o. to Nka – Journal of Contemporary African Art, and Afterall magazine.
Die Veranstaltung findet in englischer Sprache statt.
El Hadji Sy & Philippe Pirotte
Dienstag, 4. November 2014, 19 Uhr, Aula
El Hadji Sy was born 1954 in Dakar and studied Fine Art at the Ecole Nationale des Beaux-Arts in Dakar. As a painter, curator, and cultural activist, El Hadji Sy’s interdisciplinary practice represents a pioneering model within the context of post-Independence Africa. Exhibited internationally as a painter since the late-1970s and hailed by the late Senegalese poet and President, Léopold Sédar Senghor, he is equally known for his rebellious attitude towards state cultural policy. In his capacity as artist and activist, El Hadji Sy co-founded the avant-garde performance group Laboratoire AGIT’art, was the lead instigator of the international artist-led Tenq workshops and Villages des Arts in Dakar, and a key collaborator of the interventionist group Huit Facettes. Between 1985-89, he was commissioned by the Weltkulturen Museum in Frankfurt to develop a new collection of Senegalese art and to co-edit a critical anthology on visual practice in Senegal. In the mid-1990s, his work as artist-curator was presented at the Whitechapel Gallery London and Konsthalle Malmö in Seven Stories about Modern Art in Africa, and he took part in several international exhibitions. Most recently, for the 31st Bienal of São Paulo, Sy developed a 16-metre-long painting-installation to be activated by dancers on the theme of marine archaeology.
Philippe Pirotte *1972, is a Belgian art historian, critic, curator of numerous international exhibitions and since 2014 Rector of Staatliche Hochschule für Bildende Künste – Städelschule Frankfurt am Main. He studied Art History at Ghent University. In 1999 he co-founded the art center objectif_exhibitions in Antwerp, from 2005 to 2011, he was Director of Kunsthalle Bern and since 2012 he is Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive. As a writer, Pirotte contributed a.o. to Nka – Journal of Contemporary African Art, and Afterall magazine.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 27. Oktober 2014
Jordan Wolfson
Vortrag
Jordan Wolfson
Donnerstag, 30. Oktober 2014, 19 Uhr, Aula
Over the past decade, Jordan Wolfson has become known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. He pulls intuitively from the world of advertising, the Internet, and the technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, the artist creates his own unique content, which frequently revolves around a series of invented, animated characters.
Wolfson was born in 1980 in New York. In 2003, he received his B.F.A. in sculpture from the Rhode Island School of Design. In 2013, the artist joined David Zwirner. His first solo exhibition was presented at the gallery in New York from March 6 to April 19, 2014.
The artist recently participated in 14 Rooms, which was curated by Klaus Biesenbach and Hans Ulrich Obrist and presented during Art Basel in June 2014. The exhibition was a collaboration between Fondation Beyeler, Art Basel, and Theater Basel.
Earlier this year, a selection of Wolfson's video work was shown at the McLellan Galleries in Glasgow as part of the 6th Glasgow International. In 2013, Jordan Wolfson: Ecce Homo/le Poseur marked the most comprehensive survey of his work to date, organized by the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent. Also in 2013 was his first solo exhibition in the United Kingdom presented at the Chisenhale Gallery in London. Other institutions which have previously hosted solo shows include the Kunsthalle Wien, Vienna; REDCAT, Los Angeles (both 2012); Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2011); CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Swiss Institute of Contemporary Art, New York (2008); Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy (2007); and the Kunsthalle Zürich (2004).
In 2009, he received the prestigious Cartier Award from the Frieze Foundation, which helps an artist from outside the United Kingdom realize a major project at Frieze Art Fair in London.
Work by Wolfson is held in public collections worldwide, including Fondazione Sandretto Re Rebaudengo, Turin; Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy; Magasin 3 Stockholm Konsthall; Museum of Contemporary Art Chicago; Museum Ludwig, Cologne; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; and the Whitney Museum of American Art, New York. He lives and works in New York and Los Angeles.
Der Vortrag findet in englischer Sprache statt.
Jordan Wolfson
Donnerstag, 30. Oktober 2014, 19 Uhr, Aula
Over the past decade, Jordan Wolfson has become known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. He pulls intuitively from the world of advertising, the Internet, and the technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, the artist creates his own unique content, which frequently revolves around a series of invented, animated characters.
Wolfson was born in 1980 in New York. In 2003, he received his B.F.A. in sculpture from the Rhode Island School of Design. In 2013, the artist joined David Zwirner. His first solo exhibition was presented at the gallery in New York from March 6 to April 19, 2014.
The artist recently participated in 14 Rooms, which was curated by Klaus Biesenbach and Hans Ulrich Obrist and presented during Art Basel in June 2014. The exhibition was a collaboration between Fondation Beyeler, Art Basel, and Theater Basel.
Earlier this year, a selection of Wolfson's video work was shown at the McLellan Galleries in Glasgow as part of the 6th Glasgow International. In 2013, Jordan Wolfson: Ecce Homo/le Poseur marked the most comprehensive survey of his work to date, organized by the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent. Also in 2013 was his first solo exhibition in the United Kingdom presented at the Chisenhale Gallery in London. Other institutions which have previously hosted solo shows include the Kunsthalle Wien, Vienna; REDCAT, Los Angeles (both 2012); Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2011); CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Swiss Institute of Contemporary Art, New York (2008); Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy (2007); and the Kunsthalle Zürich (2004).
In 2009, he received the prestigious Cartier Award from the Frieze Foundation, which helps an artist from outside the United Kingdom realize a major project at Frieze Art Fair in London.
Work by Wolfson is held in public collections worldwide, including Fondazione Sandretto Re Rebaudengo, Turin; Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy; Magasin 3 Stockholm Konsthall; Museum of Contemporary Art Chicago; Museum Ludwig, Cologne; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent; and the Whitney Museum of American Art, New York. He lives and works in New York and Los Angeles.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 21. Oktober 2014
Dan Graham & Mark von Schlegell
Gespräch
Dan Graham & Mark von Schlegell:
Rock n Roll, Puppetshows, Science Fiction and/or Comedy
23. Oktober 2014, 14 Uhr, Aula
Dan Graham *1942 in Urbana, Illinois is an artist based in New York. Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship.
As admired for his writing as for his work in art, Graham was one of the first contemporary artists to embrace Punk, Postpunk and No Wave, becoming a figurehead for those movements, and an early supporter of Glenn Branca and Sonic Youth among many others. He published the book Rock/Music Writings. It includes such landmark essays as "Punk as Propaganda," which explicates the self-packaging and media critique of The Ramones, Devo, the Sex Pistols, the Desperate Bicycles and others.
He has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2009), Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006), Museu Serralves, Porto, (2001), Museum of Modern Art, Oxford (1997), Van Abbemuseum, Eindhoven, (1993), Kunsthalle Berne (1983) and the Renaissance Society, University of Chicago (1981). He has participated in documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, 1997).
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.
Dan Graham and Mark von Schlegell will talk about writings on rock music.
Der Vortrag findet in englischer Sprache statt.
Dan Graham & Mark von Schlegell:
Rock n Roll, Puppetshows, Science Fiction and/or Comedy
23. Oktober 2014, 14 Uhr, Aula
Dan Graham *1942 in Urbana, Illinois is an artist based in New York. Dan Graham has traced the symbiosis between architectural environments and their inhabitants. With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship.
As admired for his writing as for his work in art, Graham was one of the first contemporary artists to embrace Punk, Postpunk and No Wave, becoming a figurehead for those movements, and an early supporter of Glenn Branca and Sonic Youth among many others. He published the book Rock/Music Writings. It includes such landmark essays as "Punk as Propaganda," which explicates the self-packaging and media critique of The Ramones, Devo, the Sex Pistols, the Desperate Bicycles and others.
He has had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2009), Castello di Rivoli Museo d’Arte Contemporanea, Turin (2006), Museu Serralves, Porto, (2001), Museum of Modern Art, Oxford (1997), Van Abbemuseum, Eindhoven, (1993), Kunsthalle Berne (1983) and the Renaissance Society, University of Chicago (1981). He has participated in documenta 5, 6, 7, 9 and 10 (1972, 1977, 1982, 1992, 1997).
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.
Dan Graham and Mark von Schlegell will talk about writings on rock music.
Der Vortrag findet in englischer Sprache statt.
Montag, 14. Juli 2014
Vergessene Körper: Helmut Kolle und Max Beckmann
Kabinettausstellung im Städel Museum: „Vergessene Körper: Helmut Kolle und Max Beckmann“
Master-Studierende der Curatorial Studies kuratieren Kabinettausstellung – Eröffnung am 17. Juli
Studierende des Masterstudiengangs „Curatorial Studies – Theorie – Geschichte – Kritik“ der Goethe-Universität und der Staatlichen Hochschule für Bildende Künste – Städelschule haben die Kabinettausstellung „Vergessene Körper: Helmut Kolle und Max Beckmann“ kuratiert, die am 17. Juli (Donnerstag) um 19 Uhr im Frankfurter Städel Museum eröffnet wird. Sie ist bis zum 21. September innerhalb der Sammlungspräsentation der Moderne des Städel Museums zu sehen.
Bei ihrer Auseinandersetzung mit der Sammlung des Städel Museums, insbesondere mit Werken aus dem Depot, entdeckten die Studierenden die Gemälde des Malers Helmut Kolle, von dem sich drei Werke im Besitz des Museums befinden. In der Kabinettausstellung werden diese nun gemeinsam den Besuchern präsentiert. Ergänzt werden die relativ unbekannten Gemälde Kolles durch zwei von insgesamt acht Bronzeskulpturen Max Beckmanns. „Dass die Wahl der Studierenden auf den Maler Helmut Kolle fiel, freut mich besonders. Der Künstler Kolle hat bislang wenig Aufmerksamkeit erfahren“, so Dr. Felix Krämer, Sammlungsleiter der Kunst der Moderne im Städel Museum.
Wie kommt es zu der Gegenüberstellung von Helmut Kolle (1899–1931) und Max Beckmann (1884–1950)? Welche Verbindungen lassen sich zwischen den beiden Künstlern aufzeigen? Worin unterscheiden sie sich? Annabel Ruckdeschel, eine der Master-Studierenden, zur Konzeption der Ausstellung: „Wir wollten an den nur wenig bekannten Maler Helmut Kolle erinnern, indem wir seine Verbindungen zu einem bekannten Meister sichtbar machen. Ein wesentlicher Zug seiner Gemälde wird vor dem Hintergrund von Beckmanns Skulpturen deutlich. Beckmann teilte mit ihm das Interesse an Körperlichkeit, besonders in seinen plastischen Arbeiten.“ Sowohl Beckmann als auch Kolle setzten sich mit ihren figurativen Arbeiten von den zunehmenden Abstraktionstendenzen in der Kunst seit 1900 ab. Während Kolles pastoser Farbauftrag die Malerei teilweise plastisch erscheinen lässt, sind Beckmanns Bronzeskulpturen darauf angelegt, die Flächigkeit im dreidimensionalen Objekt zu stärken.
Der 1899 in Charlottenburg geborene Maler Helmut Kolle lebte zusammen mit seinem Partner, dem Kunsthändler und -kritiker Wilhelm Uhde in Paris, wo er auch Erfolge mit Galerieausstellungen feierte. Durch Uhde war er mit der französischen Kunstszene vertraut, die seine künstlerische Arbeit stark prägte. Obwohl Uhde zeitlebens versuchte Kolles Werke in deutschen Museen zu platzieren, stießen sie dort auf nur geringen Anklang.
Das erste Gemälde Kolles gelangte auf Beckmanns Vermittlung hin 1932 an das Städel Museum. Anders als Kolle war Beckmann als Maler eine zentrale Figur im deutschen Kunstbetrieb. Mit Uhdes Unterstützung versuchte auch Beckmann sein Pariser Netzwerk weiter auszubauen. Zwischen 1936 und 1938 sowie um 1950 schuf er insgesamt acht Plastiken, die weniger bekannt sind als seine Gemälde.
Die drei im Seitenkabinett präsentierten Arbeiten von Kolle „Toreros“ (1925), „Junge mit Hampelmann“ (1929) und „Selbstbildnis“ (1930) zeigen deutlich den stilistischen Einfluss der europäischen Avantgarde. Ein motivisches Vorbild für Kolles Darstellungen von sportlichen, jungen Männerkörpern waren Aktfotografien aus Männermagazinen. Die Fotografie war ein Medium, das Kolles Arbeit weitergehend beeinflusste. Die Wahl des Bildausschnitts, sowie die reduzierte Farbigkeit machen dies sichtbar. In den drei Arbeiten von Kolle stehen nicht Posen des Triumphs im Mittelpunkt. Er malt die „Toreros“ während einer Pause, nachdenklich, nahezu verletzlich. Die Ideale und Stereotype des zeitgenössischen Bildes vom starken Mann werden in Frage gestellt, zuweilen auch umgekehrt. Das intime Selbstporträt des Künstlers zeigt ihn kurz vor seinem frühen Tod im Jahr 1930. Die ungelenke Haltung seines Körpers und das dominant ins Bild gesetzte rote Brusttuch lesen sich wie ein Verweis auf Kolles Herzleiden, dem er nur wenig später erliegen sollte.
Die beiden Skulpturen von Max Beckmann wurden von den Studierenden als Gegenposition zu den Werken Helmut Kolles ausgewählt. Die muskulöse Männerfigur der in der Ausstellung gezeigten Skulptur „Adam und Eva“ (1936) findet ihre Entsprechung in Kolles „Toreros“. Ihren Umgang mit Körperlichkeit sowie die Thematisierung von scheinbar gängigen Rollenbildern teilen beide Werke, womit sie bereits zu Beginn des 20. Jahrhunderts eine bis heute andauernde Diskussion zum Gegenstand ihrer Arbeiten machten. Beckmann ließ sich ähnlich wie Kolle von französischen Künstlern beeinflussen. Seine „Tänzerin“ nimmt das Hauptthema des Malers Edgar Degas (1834 – 1917) auf. Die übersteigerte Haltung der Ballerina in Aktion steht im Gegensatz zu der reduzierten Gestik und der Passivität der Dargestellten in den Gemälden Kolles.
Die von den Studierenden erarbeitete Kabinettausstellung ist das zweite kuratorische Projekt des Masterstudiengangs, der sich international durch die einzigartige Verbindung von Universität, Kunstakademie und Museen auszeichnet. „Curatorial Studies – Theorie – Geschichte – Kritik“ wird in Kooperation mit dem Städel Museum und Liebieghaus, dem MMK Museum für Moderne Kunst Frankfurt, dem Historischen Museum Frankfurt, dem Weltkulturen Museum und dem Portikus durchgeführt. Durch innovative Lehrformate können Studierende akademisches Lernen und wissenschaftliche Forschung mit kuratorischen Fragestellungen und berufsbezogenen Erfahrungen verbinden.
Eröffnung: 17. Juli (Donnerstag), 19 Uhr im Städel Museum Schaumainkai 63, Frankfurt (bis 21. September)
Öffnungszeiten: Di, Mi, Sa, So 10.00–18.00 Uhr; Do, Fr 10.00–21.00 Uhr
Montags geschlossen
Die Goethe-Universität ist eine forschungsstarke Hochschule in der europäischen Finanzmetropole Frankfurt. 2014 feiert sie ihren 100. Geburtstag. 1914 gegründet mit rein privaten Mitteln von freiheitlich orientierten Frankfurter Bürgerinnen und Bürgern fühlt sie sich als Bürgeruniversität bis heute dem Motto „Wissenschaft für die Gesellschaft“ in Forschung und Lehre verpflichtet. Viele der Frauen und Männer der ersten Stunde waren jüdische Stifter. In den letzten 100 Jahren hat die Goethe-Universität Pionierleistungen erbracht auf den Feldern der Sozial-, Gesellschafts- und Wirtschaftswissenschaften, Chemie, Quantenphysik, Hirnforschung und Arbeitsrecht. Am 1. Januar 2008 gewann sie mit der Rückkehr zu ihren historischen Wurzeln als Stiftungsuniversität ein einzigartiges Maß an Eigenständigkeit. Heute ist sie eine der zehn drittmittelstärksten und drei größten Universitäten Deutschlands mit drei Exzellenzclustern in Medizin, Lebenswissenschaften sowie Geisteswissenschaften. Mehr Informationen unter www2.uni-frankfurt.de/gu100
Master-Studierende der Curatorial Studies kuratieren Kabinettausstellung – Eröffnung am 17. Juli
Studierende des Masterstudiengangs „Curatorial Studies – Theorie – Geschichte – Kritik“ der Goethe-Universität und der Staatlichen Hochschule für Bildende Künste – Städelschule haben die Kabinettausstellung „Vergessene Körper: Helmut Kolle und Max Beckmann“ kuratiert, die am 17. Juli (Donnerstag) um 19 Uhr im Frankfurter Städel Museum eröffnet wird. Sie ist bis zum 21. September innerhalb der Sammlungspräsentation der Moderne des Städel Museums zu sehen.
Bei ihrer Auseinandersetzung mit der Sammlung des Städel Museums, insbesondere mit Werken aus dem Depot, entdeckten die Studierenden die Gemälde des Malers Helmut Kolle, von dem sich drei Werke im Besitz des Museums befinden. In der Kabinettausstellung werden diese nun gemeinsam den Besuchern präsentiert. Ergänzt werden die relativ unbekannten Gemälde Kolles durch zwei von insgesamt acht Bronzeskulpturen Max Beckmanns. „Dass die Wahl der Studierenden auf den Maler Helmut Kolle fiel, freut mich besonders. Der Künstler Kolle hat bislang wenig Aufmerksamkeit erfahren“, so Dr. Felix Krämer, Sammlungsleiter der Kunst der Moderne im Städel Museum.
Wie kommt es zu der Gegenüberstellung von Helmut Kolle (1899–1931) und Max Beckmann (1884–1950)? Welche Verbindungen lassen sich zwischen den beiden Künstlern aufzeigen? Worin unterscheiden sie sich? Annabel Ruckdeschel, eine der Master-Studierenden, zur Konzeption der Ausstellung: „Wir wollten an den nur wenig bekannten Maler Helmut Kolle erinnern, indem wir seine Verbindungen zu einem bekannten Meister sichtbar machen. Ein wesentlicher Zug seiner Gemälde wird vor dem Hintergrund von Beckmanns Skulpturen deutlich. Beckmann teilte mit ihm das Interesse an Körperlichkeit, besonders in seinen plastischen Arbeiten.“ Sowohl Beckmann als auch Kolle setzten sich mit ihren figurativen Arbeiten von den zunehmenden Abstraktionstendenzen in der Kunst seit 1900 ab. Während Kolles pastoser Farbauftrag die Malerei teilweise plastisch erscheinen lässt, sind Beckmanns Bronzeskulpturen darauf angelegt, die Flächigkeit im dreidimensionalen Objekt zu stärken.
Der 1899 in Charlottenburg geborene Maler Helmut Kolle lebte zusammen mit seinem Partner, dem Kunsthändler und -kritiker Wilhelm Uhde in Paris, wo er auch Erfolge mit Galerieausstellungen feierte. Durch Uhde war er mit der französischen Kunstszene vertraut, die seine künstlerische Arbeit stark prägte. Obwohl Uhde zeitlebens versuchte Kolles Werke in deutschen Museen zu platzieren, stießen sie dort auf nur geringen Anklang.
Das erste Gemälde Kolles gelangte auf Beckmanns Vermittlung hin 1932 an das Städel Museum. Anders als Kolle war Beckmann als Maler eine zentrale Figur im deutschen Kunstbetrieb. Mit Uhdes Unterstützung versuchte auch Beckmann sein Pariser Netzwerk weiter auszubauen. Zwischen 1936 und 1938 sowie um 1950 schuf er insgesamt acht Plastiken, die weniger bekannt sind als seine Gemälde.
Die drei im Seitenkabinett präsentierten Arbeiten von Kolle „Toreros“ (1925), „Junge mit Hampelmann“ (1929) und „Selbstbildnis“ (1930) zeigen deutlich den stilistischen Einfluss der europäischen Avantgarde. Ein motivisches Vorbild für Kolles Darstellungen von sportlichen, jungen Männerkörpern waren Aktfotografien aus Männermagazinen. Die Fotografie war ein Medium, das Kolles Arbeit weitergehend beeinflusste. Die Wahl des Bildausschnitts, sowie die reduzierte Farbigkeit machen dies sichtbar. In den drei Arbeiten von Kolle stehen nicht Posen des Triumphs im Mittelpunkt. Er malt die „Toreros“ während einer Pause, nachdenklich, nahezu verletzlich. Die Ideale und Stereotype des zeitgenössischen Bildes vom starken Mann werden in Frage gestellt, zuweilen auch umgekehrt. Das intime Selbstporträt des Künstlers zeigt ihn kurz vor seinem frühen Tod im Jahr 1930. Die ungelenke Haltung seines Körpers und das dominant ins Bild gesetzte rote Brusttuch lesen sich wie ein Verweis auf Kolles Herzleiden, dem er nur wenig später erliegen sollte.
Die beiden Skulpturen von Max Beckmann wurden von den Studierenden als Gegenposition zu den Werken Helmut Kolles ausgewählt. Die muskulöse Männerfigur der in der Ausstellung gezeigten Skulptur „Adam und Eva“ (1936) findet ihre Entsprechung in Kolles „Toreros“. Ihren Umgang mit Körperlichkeit sowie die Thematisierung von scheinbar gängigen Rollenbildern teilen beide Werke, womit sie bereits zu Beginn des 20. Jahrhunderts eine bis heute andauernde Diskussion zum Gegenstand ihrer Arbeiten machten. Beckmann ließ sich ähnlich wie Kolle von französischen Künstlern beeinflussen. Seine „Tänzerin“ nimmt das Hauptthema des Malers Edgar Degas (1834 – 1917) auf. Die übersteigerte Haltung der Ballerina in Aktion steht im Gegensatz zu der reduzierten Gestik und der Passivität der Dargestellten in den Gemälden Kolles.
Die von den Studierenden erarbeitete Kabinettausstellung ist das zweite kuratorische Projekt des Masterstudiengangs, der sich international durch die einzigartige Verbindung von Universität, Kunstakademie und Museen auszeichnet. „Curatorial Studies – Theorie – Geschichte – Kritik“ wird in Kooperation mit dem Städel Museum und Liebieghaus, dem MMK Museum für Moderne Kunst Frankfurt, dem Historischen Museum Frankfurt, dem Weltkulturen Museum und dem Portikus durchgeführt. Durch innovative Lehrformate können Studierende akademisches Lernen und wissenschaftliche Forschung mit kuratorischen Fragestellungen und berufsbezogenen Erfahrungen verbinden.
Eröffnung: 17. Juli (Donnerstag), 19 Uhr im Städel Museum Schaumainkai 63, Frankfurt (bis 21. September)
Öffnungszeiten: Di, Mi, Sa, So 10.00–18.00 Uhr; Do, Fr 10.00–21.00 Uhr
Montags geschlossen
Die Goethe-Universität ist eine forschungsstarke Hochschule in der europäischen Finanzmetropole Frankfurt. 2014 feiert sie ihren 100. Geburtstag. 1914 gegründet mit rein privaten Mitteln von freiheitlich orientierten Frankfurter Bürgerinnen und Bürgern fühlt sie sich als Bürgeruniversität bis heute dem Motto „Wissenschaft für die Gesellschaft“ in Forschung und Lehre verpflichtet. Viele der Frauen und Männer der ersten Stunde waren jüdische Stifter. In den letzten 100 Jahren hat die Goethe-Universität Pionierleistungen erbracht auf den Feldern der Sozial-, Gesellschafts- und Wirtschaftswissenschaften, Chemie, Quantenphysik, Hirnforschung und Arbeitsrecht. Am 1. Januar 2008 gewann sie mit der Rückkehr zu ihren historischen Wurzeln als Stiftungsuniversität ein einzigartiges Maß an Eigenständigkeit. Heute ist sie eine der zehn drittmittelstärksten und drei größten Universitäten Deutschlands mit drei Exzellenzclustern in Medizin, Lebenswissenschaften sowie Geisteswissenschaften. Mehr Informationen unter www2.uni-frankfurt.de/gu100
Montag, 7. Juli 2014
Simon Denny
Vortrag
Simon Denny: The Innovative Dilemma
Mittwoch, 9. Juli 2014, 19 Uhr, Aula
Recently Simon Denny’s practice has dealt extensively with communication technology and business ideology. Touching on his projects "All you need is data: the DLD 2012 Conference REDUX" (Kunstverein Munich, Petzel Gallery NYC 2013), "The Personal Effects of Kim Dotcom" (2013-2014 mumok Vienna, Firstsite Colchester) and "Disruptive Berlin" (Galerie Buchholz, 2014) Denny will reflect on the current technology business landscape and the images and culture it produces - from startup aesthetics to corporate culture. Denny will also talk about his upcoming exhibition "New Management" at Portikus and the complex processes behind it. He will speak towards ideas like the "disruption machine" and the "gospel of innovation" discussed in Jill Lepore’s recent article "The Annals of Enterprise: The Disruption Machine" (The New Yorker, 23 June 2014).
Simon Denny *1982 in Auckland / New Zealand, lives and works in Berlin. He holds an BFA 2005 from University Of Auckland and is Meisterschüler of Willem de Rooij, Städelschule 2009. Denny will represent New Zealand at the 56th International Art Exhibition, la Biennale di Venezia 2015.
Die Veranstaltung findet in englischer Sprache statt.
Simon Denny: The Innovative Dilemma
Mittwoch, 9. Juli 2014, 19 Uhr, Aula
Recently Simon Denny’s practice has dealt extensively with communication technology and business ideology. Touching on his projects "All you need is data: the DLD 2012 Conference REDUX" (Kunstverein Munich, Petzel Gallery NYC 2013), "The Personal Effects of Kim Dotcom" (2013-2014 mumok Vienna, Firstsite Colchester) and "Disruptive Berlin" (Galerie Buchholz, 2014) Denny will reflect on the current technology business landscape and the images and culture it produces - from startup aesthetics to corporate culture. Denny will also talk about his upcoming exhibition "New Management" at Portikus and the complex processes behind it. He will speak towards ideas like the "disruption machine" and the "gospel of innovation" discussed in Jill Lepore’s recent article "The Annals of Enterprise: The Disruption Machine" (The New Yorker, 23 June 2014).
Simon Denny *1982 in Auckland / New Zealand, lives and works in Berlin. He holds an BFA 2005 from University Of Auckland and is Meisterschüler of Willem de Rooij, Städelschule 2009. Denny will represent New Zealand at the 56th International Art Exhibition, la Biennale di Venezia 2015.
Die Veranstaltung findet in englischer Sprache statt.
Dienstag, 24. Juni 2014
Paul Elliman
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.
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.
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.
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