Vortrag
Loretta Fahrenholz
Dienstag, 28. April 2015, 19 Uhr, Aula
During the past few years Fahrenholz has gained recognition for a style of digital cinema that merges an old school documentary ethic with the manipulations of contemporary image technologies. Inserting her camera into live social situations and institutional contexts, the artist constructs narratives with the real, using digital post-production to produce reconstructed documents. Her juxtaposition of pop culture references with intense human interactions creates an uneasy presence on screen and nods towards our interpersonal connections of the near future.
The talk will focus on Fahrenholz's New York films Implosion, an adaptation of a Kathy Acker script in a high rise condo near Ground Zero in Manhattan, Grand Openings Return of the Blogs, documenting a performance series of the collective Grand Openings at MoMA in 2011 and Ditch Plains, a futuristic disaster movie shot in Brooklyn at the time of Hurricane Sandy.
Loretta Fahrenholz lives in Berlin and New York. Recent films include: My Throat, My Air (2014); Ditch Plains (2013); Grand Openings Return of the Blogs (2012); Implosion (2011) and Haust (2010). Fahrenholz work has been shown at Galerie Buchholz, Cologne (2015); Reena Spaulings Fine Arts, New York (2013), The Hammer Museum, Los Angeles (2015), Modern Art Oxford, Oxford, United Kingdom (2014); 10th Shanghai Biennale (2014); Museum of Contemporary African Diasporan Arts, Brooklyn, (2014), Institute of Contemporary Arts, London (2014); Museum of Modern Art, Warsaw (2014); KW Institute for Contemporary Art, Berlin (2014); Kunsthalle Basel, Basel, Switzerland (2014); Artists Space, New York (2013); Arnolfini, Bristol, United Kingdom (2013); Sprengel Museum, Hannover, Germany (2012); and Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2012).
Der Vortrag findet in englischer Sprache statt.
Freitag, 24. April 2015
Peter Wächtler
Vortrag
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Peter Wächtler
Montag, 27. April 2015, 19 Uhr, Aula
Peter Wächtler works with sculpture, drawing and video. The most re-occurring element is the use of text, be it voice-over, subtitle, songtext or short story. His texts often share an distorted or exagerated tone and are mainly told by a multi-souled first person narrator (e.g. orphan, shoemaker, bad butler). These reports can remain text or eventually conclude into a video or a series of ceramic sculptures instead. Wächtler moves within a common system of imagery and connotations, describing a social grid of expectations, powers and limits, along with some of the blurred identities that haunt it.
In the lecture he will speak about his practice and will show excerpts of videos as well as images of his other works.
Der Vortrag findet in englischer Sprache statt.
Montag, 20. April 2015
Zin Taylor: Stripes and Dots on the Isle of Portikus
Ausstellung zur Nacht der Museen
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Zin Taylor: Stripes and Dots on the Isle of Portikus
Samstag, 25. April 2015, 19 Uhr, Portikus
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Nina Power: Philosophy and the public
Vortrag
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Nina Power: Philosophy and The Public
Freitag, 24. April 2015, 19 Uhr, Aula
This talk will examine the political and aesthetic conditions for the possibility of 'publicness' in the age of the destruction of the welfare state and the rise of repression of all kinds. It will also examine the role that philosophy can have, as a speculative critical practice and what this might mean for art and artists. Drawing on several current projects, I will try to identify some of the main pressures and problems of our age, particularly around our understanding of the state, of work and of value.
Nina Power has a wide range of interests, including philosophy, film, art, feminism and politics. She is the author of "One-Dimensional Woman" (Zer0, 2009) and is interested in independent publishing and reviving certain political forms and genres of writing (the polemic, the pamphlet, the declaration, the address, etc.). She writes for a variety of different publications and journals, in a variety of genres and on various different topics (including music, critical theory, film, policing and protests). Some of the publications she regularly contributes to include frieze, Wire, Radical Philosophy, the Guardian, Cabinet, Film Quarterly, Icon and The Philosophers’ Magazine.
Nina Power received her PhD in Philosophy from Middlesex University on the topic of Humanism and Anti-Humanism in Post-War French Philosophy, and also has an MA and BA in Philosophy from Warwick. She has taught at Middlesex, Orpington College, London College of Communication, Morley College and Roehampton University, where she is also currently a Senior Lecturer in Philosophy. She is a fellow of the RSA and a member of the British Philosophical Association.
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Vortrag
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Zin Taylor: A Conversation on Lichen Voices
Donnerstag, 23. April 2015, 19 Uhr, Aula
In "A conversation on Lichen Voices" Zin Taylor speaks about his audio and video works, which are on view in frame of "Nacht der Museen" at Portikus.
"Lichen Voices / Stripes and Dots" is a narrative video where lichen, a growth existing upon the surface of rocks, uses the characters of a stripe and dot to make visual the thoughts it has been thinking. This hallucinogenic proposition introduces the transference, and subsequent translation, of information from one form into another. The stripe and the dot, two analog building blocks of visual language, are seen giving form to the stories held within the ancient lichen organism.
"The Story of Stripes and Dots (Chapter 4)" is a radio-play imagining the translation of sound into form. A voice introduces a dot, and with the aid of an analog synthesizer, expands its characteristics into a series of stripes: the sign-wave of sound as an undulating stripe, led by the thoughts of an adventurous dot. Over the course of several minutes the characteristics of the stripe and the dot are developed and made audible as their movements describe different scenarios with sound.
Following the presentation of the video and audio works "A Story of Sound + Visuals (a small index of contemporary psych)" will unfold over the remaining hours of the evening. Taylor will play selections from his record collection of groups and individuals who seek to develop a language of psychedelia through the music they compose. Typically downtempo and contemplative, the collection presents a place where many of the ideas and observations employed within "Lichen Voices / Stripes and Dots and The Story of Stripes and Dots (Chapter 4)" were developed. The music will be accompanied by projected footage of two people dressed as a stripe and a dot cavorting on a moon-ish landscape. The footage presenting a visual choreography to the music that is played, lending a visual setting to the audible soundtrack of the night.
Zin Taylor (1978, Calgary, Canada) lives and works in Brussels. Belgium. Recent solo exhibitions include "The Illustrator at 1646", Den Haag; "Foto/Studio/Zig-Zag", 21er Haus, Vienna; "Karl’s Body", Kunsthalle Wien Karlsplatz, Vienna; "The Tangental Zig-Zag", Kunstraum, London; "SUN MILK", Maison Gregoire, Brussels; "The Story of Stripes and Dots (Chapter 7)", Jessica Bradley Gallery, Toronto; "The Story of Stripes and Dots (Chapter 5)", Fogo Island Arts, Fogo Island; and "Parrot Soup", Supportico Lopez, Berlin. Writing by Zin Taylor, and his artist books, have been published by Sternberg Press (Berlin), Bywater Bros. Editions (Port Colborne), Etablissement d’en face (Brussels), Mousse Publishing (Milan), Karma (New York), and Artforum (New York).
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo
Vortrag
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Gabi Ngcobo: "What's love got to do with it?"
Mittwoch, 22. April 2015, 19 Uhr, Weltkulturen Museum
In her talk "What’s love got to do with it?" Ngcobo discusses her research work in the Weltkulturen Labor.
Ngcobo is guest artist and curator at the Weltkulturen Labor. During her residency, she has been critically engaging and reviewing the museum's collection of contemporary art from South Africa.
Gabi Ngcobo is a curator, artist and educator based in Johannesburg, South Africa. In 2010, she co-founded the collaborative platform Center for Historical Reenactments and over the last four years has contributed curatorially, individually and collectively to a variety of projects organised by this platform. Ngcobo is a lecturer at the Wits School of Arts in Johannesburg. She is a member of the curatorial team for the forthcoming 32nd Bienal de São Paulo, to open in September 2016.
Weltkulturen Labor, Schaumainkai 37, Frankfurt am Main
Eintritt: 5€ / ermäßigt 2,50€
(The Talk is free for students of Städelschule. Student ID necessary.)
Der Vortrag findet in englischer Sprache statt.
Dienstag, 3. Februar 2015
Raimundas Malašauskas
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.
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.
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.
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