Städelschule Architecture Class
The Feast: Prolegomenon - From Peelings to Core
Donnerstag, 29. Oktober 2015, ab 17:30 Uhr, Lichthalle
The Städelschule Architecture Class and its second year group, Architecture and Aesthetic Practice, in collaboration with AtelierSlice (Stockholm/New York) and Genießerakademie (Frankfurt) invites to The Feast. The Feast is a year-long experimental investigation into the relations between architecture, art and culinary practice, exploring opportunities for innovation in the making of tomorrow.
The Feast enquires into culinary art and its radical and sometimes innovative transformation of matter for choreographed and carefully sequenced experiences in order to transpose lessons from the experiments into new opportunities for architectural design.
To kick off the experimental programme, SAC and its collaborators invites to The Feast: Prolegomenon - From Peelings to Core, an evening with food and talk about food, architecture and art. Dorothy Hamilton, founder and CEO of the International Culinary Center (ICC), and Sayan Isaksson, founder of and chef at the Michelin-starred restaurant, Esperanto, in Stockholm, are main guests. They join AtelierSlice’s Jan Åman and Savinien Caracostea, Fabian Lange of the Genießerakademie, and Städelschule’s Daniel Birnbaum and Johan Bettum to discuss the history of food and cooking in architecture and the arts, the role of cooking and chefs in the 21st century and how the disciplines engage with innovation and innovations role in forming the future.
For the event, Sayan Isaksson will have prepared soup that will be served; Savinien Caracostea, who has a degree in Pastry Arts from the International Culinary Center in NYC, will serve pastry; and there will be tastes of wine chosen by Fabian Lange.
Programme: Discussion - Conversation
17:30 - 18 Uhr
Savinien Caracostea & Johan Bettum
Welcome: Architecture - System, City, Food
18 - 18:30 Uhr
Daniel Birnbaum
Städelschule Cooking: From Gordon Matta Clark and Peter Kubelka to Rirkrit Tiravanija and Jason Rhoades.
18:30 - 19 Uhr
Dorothy Hamilton
Beyond knife skills: the role of the professional cook in the 21st century.
19 - 19:30 Uhr
Fabian Lange
The Architecture of taste.
19:30 - 20 Uhr
Jan Åman
Food and the city: the world’s fair and tools for innovation.
20 - 20:30 Uhr
Conversation with Tobias Rehberger.
Die Veranstaltung findet in englischer Sprache statt.
Special Guests:
Dorothy Cann Hamilton is founder and CEO of the International Culinary Center (ICC). She is one of the most respected culinary leaders in the world today. She is the president of the USA pavilion at the 2015 World Expo in Milan and served as the former president of the James Beard Foundation, one of the most prestigious culinary foundations in the USA. Hamilton is an author and creator and host of Chef’s Story, a weekly radio program on the Heritage Radio Network and a 26-part television series on PBS.
Sayan Isaksson is the renown founder of and chef at the restaurant, Esperanto, in Stockholm. The restaurant has one Michelin star and was selected best restaurant in Sweden in both 2013 and -14.
Tobias Rehberger, professor for sculpture at Städelschule since 2001, produces work of great artistic complexity and intimacy with design. The production flirts with the contemporary status of objects, space, commodification and innovation. Yet, for all its extravagance, humor and disciplinary ambiguity, Rehberger's work reflects his own clear identification as an artist.
More about The Feast:
The one-year long experimental project, The Feast, engages with culinary art as the inventive planning and production for human nutrition, sustenance and pleasure. The aim of the project is to deliver a vast research and educational experience for architectural design and present the results in select public media and events.
Preparations for The Feast comprises in-depth research and architectural design experiments based on basic lessons as well as cutting edge strategies for innovation in the culinary arts. The Feast abstracts and explores architects’ creative work process and goal oriented planning by shifting the attention to the ephemeral production of a dinner party. By unfolding the traditional elements that constitute a holistic dining experience - food, service, atmosphere - and understanding their temporality, the research and experiments will seek to establish a new framework for creating sequenced composition, choreography and effects for architectural design.
In the second, summer semester 2016 the lessons and experimental results had from The Feast will be transposed to architecture and comprise the basis for the respective students’ conceptualisation, development and design of a culinary social centre for one of the many cultural institutions in Frankfurt am Main.
Architecture and Aesthetic Practice is led by professors Daniel Birnbaum and Johan Bettum. The Feast is undertaken in collaboration with Jan Åman and Savinien Caracostea of AtelierSlice (Stockholm/New York), Fabian Lange of the Genießerakademie (Frankfurt) and Städelschule’s cook, Hocine Bouhlou. Further specialists from the local and international kitchen and restaurant scene as well as Städelschule professor and artist, Tobias Rehberger, are invited.
The Feast: Prolegomenon - From Peelings to Core is generously supported by Städelschule Portikus e.V.
Dienstag, 27. Oktober 2015
Montag, 19. Oktober 2015
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Vortrag
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Mittwoch, 21. Oktober 2015, 19 Uhr, Aula
Wolfgang Müller * 1957 in Wolfsburg. Er zieht 1979 nach West-Berlin. Dort gründet er „Die Tödliche Doris“. Angeregt von Marcel Duchamp fragt er: „Kann man etwas machen, das keine Musik ist?“ Es entstehen zahlreiche unmusikalische, außermusikalische und übermusikalische Werke. Sein Manifest des musikalisch-künstlerischen West-Berliner Undergrounds „Geniale Dilletanten“ erscheint 1981 im Merve-Verlag. Ab 1990 dehnt er seine „Missverständniswissenschaft“ (Marcel Beyer) auf Island aus. Als Professor der HfBK Hamburg unterrichtet er 2001-2002 Elfen-, Zwergen- und Geschlechterkunde. Den Karl-Sczuka-Preis erhält er 2009 in Donaueschingen für sein Werk „Séance Vocibus Avium“, ein Hörspiel mit den rekonstruierten Gesängen ausgestorbener Vogelarten. Sein 2013 bei philo Fine Arts erschienenes Buch „Subkultur Westberlin 1979 – 1989.Freizeit“ ist inzwischen in 4. Auflage erschienen. Zur Zeit recherchiert er über den Tanz „Pause“ (1919) von Valeska Gert.
Müller spricht in seinem Vortrag über Beispiele von Materialisierungen des Konzeptes der Tödlichen Doris: Von der schwarzen Vinyl-LP zur unsichtbaren LP. Für jeden Song einen Modeentwurf. Das Gegenstück zu Michel Jacksons BAD (1987), die 1988 erscheinende BAT von Wolfgang Müller mit den Ultraschallecholauten einheimischer Fledermausarten, Experimentelle Plastik, Elfen und Zwergenkunde in der Walther von Goethe Foundation Reykjavík. Séance Vocibus Avium - die rekonstruierten Rufe ausgestorbener Vogelarten - vom Riesenalk zur Neuseeländischen Schwarzbrustwachtel. Die Elfengebärde. Neues von der Missverständniswissenschaft. Valeska Gert und ihr Tanz "Pause".
Wolfgang Müller: Gestaltbildung in Performance und Konzeptkunst
Mittwoch, 21. Oktober 2015, 19 Uhr, Aula
Wolfgang Müller * 1957 in Wolfsburg. Er zieht 1979 nach West-Berlin. Dort gründet er „Die Tödliche Doris“. Angeregt von Marcel Duchamp fragt er: „Kann man etwas machen, das keine Musik ist?“ Es entstehen zahlreiche unmusikalische, außermusikalische und übermusikalische Werke. Sein Manifest des musikalisch-künstlerischen West-Berliner Undergrounds „Geniale Dilletanten“ erscheint 1981 im Merve-Verlag. Ab 1990 dehnt er seine „Missverständniswissenschaft“ (Marcel Beyer) auf Island aus. Als Professor der HfBK Hamburg unterrichtet er 2001-2002 Elfen-, Zwergen- und Geschlechterkunde. Den Karl-Sczuka-Preis erhält er 2009 in Donaueschingen für sein Werk „Séance Vocibus Avium“, ein Hörspiel mit den rekonstruierten Gesängen ausgestorbener Vogelarten. Sein 2013 bei philo Fine Arts erschienenes Buch „Subkultur Westberlin 1979 – 1989.Freizeit“ ist inzwischen in 4. Auflage erschienen. Zur Zeit recherchiert er über den Tanz „Pause“ (1919) von Valeska Gert.
Müller spricht in seinem Vortrag über Beispiele von Materialisierungen des Konzeptes der Tödlichen Doris: Von der schwarzen Vinyl-LP zur unsichtbaren LP. Für jeden Song einen Modeentwurf. Das Gegenstück zu Michel Jacksons BAD (1987), die 1988 erscheinende BAT von Wolfgang Müller mit den Ultraschallecholauten einheimischer Fledermausarten, Experimentelle Plastik, Elfen und Zwergenkunde in der Walther von Goethe Foundation Reykjavík. Séance Vocibus Avium - die rekonstruierten Rufe ausgestorbener Vogelarten - vom Riesenalk zur Neuseeländischen Schwarzbrustwachtel. Die Elfengebärde. Neues von der Missverständniswissenschaft. Valeska Gert und ihr Tanz "Pause".
Dienstag, 13. Oktober 2015
FookBair 2015
Veranstaltung zur Buchmesse
FookBair 2015 @ Städelschule
Samstag, 17. Oktober 2015, ab 10 Uhr, Dürerstrasse 10
http://fookbair.tumblr.com/
Print is not dead, it just looks canny. So what?
Join us for the inaugural fookbair at Frankfurt's matchless Städelschule this Sat Oct 17th. Twelve+ hours to celebrate the resurrection of the book and its analog orphans. Fakers, fellows, fetishists, folks +++ Think Bāzār. Think Ballroom.
Starting off at 10am with Easter trouble press, re/search, Leesmagazijn, Fucking good art, Ztscrpt, Spector books, Dancing foxes, Textem, Archive books, Monokultur, Zero sharp and many others.
Plus: Live Lectures, Films, Music by Traumawien, Sic Sic Tapes / Mmodemm, Ricochet, Scriptings Achim Lengerer, Alexander Tillegreen, Merve, Spector books, Leesmagazijn, Bernhard Cella
Plusplus: 10pm: "One reynaldo’s revenge" on the Most Excellent and Lamentable Conceited Tragedie, of iuliet and her romeo, and one Mercutio his friend, and the Friar who advised true lovers to False Death, made true, etc., as it will be publickly acted by the DysHonorable pure fiction seminar and its purple vein’d faire assembly, under the deu’l’d Aegis of the STAEDEL and FookBair – a Mishapen Chaos of welseeing formes, soales of leade, bright smoake, cold fire, sicke health – fiddlestickes prepar’d in Chopt Logicke. What is it else? A madnesse, most Discreet, a choking gall, a marue’lous treat – Farewell my Coze. with vntimely appearances by Laura Marx and Paul Lafarge. 30 minvtes of borrow’d likenesse & kindred Deathe. Shut vp yr windowes, locke faire daylight out, and make yrselfe an artificiall night: Doest thou not weep?
Drinks & Drunks & Music till dawn
Die Veranstaltung FookBair ist eine Initiative des Merve Verlags.
FookBair 2015 @ Städelschule
Samstag, 17. Oktober 2015, ab 10 Uhr, Dürerstrasse 10
http://fookbair.tumblr.com/
Print is not dead, it just looks canny. So what?
Join us for the inaugural fookbair at Frankfurt's matchless Städelschule this Sat Oct 17th. Twelve+ hours to celebrate the resurrection of the book and its analog orphans. Fakers, fellows, fetishists, folks +++ Think Bāzār. Think Ballroom.
Starting off at 10am with Easter trouble press, re/search, Leesmagazijn, Fucking good art, Ztscrpt, Spector books, Dancing foxes, Textem, Archive books, Monokultur, Zero sharp and many others.
Plus: Live Lectures, Films, Music by Traumawien, Sic Sic Tapes / Mmodemm, Ricochet, Scriptings Achim Lengerer, Alexander Tillegreen, Merve, Spector books, Leesmagazijn, Bernhard Cella
Plusplus: 10pm: "One reynaldo’s revenge" on the Most Excellent and Lamentable Conceited Tragedie, of iuliet and her romeo, and one Mercutio his friend, and the Friar who advised true lovers to False Death, made true, etc., as it will be publickly acted by the DysHonorable pure fiction seminar and its purple vein’d faire assembly, under the deu’l’d Aegis of the STAEDEL and FookBair – a Mishapen Chaos of welseeing formes, soales of leade, bright smoake, cold fire, sicke health – fiddlestickes prepar’d in Chopt Logicke. What is it else? A madnesse, most Discreet, a choking gall, a marue’lous treat – Farewell my Coze. with vntimely appearances by Laura Marx and Paul Lafarge. 30 minvtes of borrow’d likenesse & kindred Deathe. Shut vp yr windowes, locke faire daylight out, and make yrselfe an artificiall night: Doest thou not weep?
Drinks & Drunks & Music till dawn
Die Veranstaltung FookBair ist eine Initiative des Merve Verlags.
Bifo: NEXT Europe
Vortrag
Bifo: NEXT Europe
Donnerstag, 15. Oktober 2015, 19 Uhr, Aula
Recently the Union has been shaken by two major crises: the first was linked to the financial problems of Southern countries of the continent particularly of Greece, the second was linked to the wave of migration at the Southern and Eastern borders. The reaction of the leading class, and particularly of the German State has been ambivalent. Generally speaking the Ordo-Liberal order imposed to the economy of the Union has provoked an impoverishment of social life, and the growing discontent of people is more and more exploited by nationalist forces. A division is emerging in the continent, and the fear of migrants has made this division quite evident.
What will be the issue of the multifaceted crisis? Why intellectuals seem unable to speak out and to propose a project for the future? What is going to happen next in the European space? Will we be able to find a way out from the alternative between aggressive financial capitalism and the resurgence of nationalism?
Franco Berardi is writer, philosopher and media-activist. In the '70s he took part to the Italian experience of Potere operaio, and founded the first radio station called Radio Alice. In the '80s he studied in Paris, in New York and in Mexico City, then was the animator of the international cyberculture of the '90s.
Recently he has published The soul at work (Semiotexte) The Uprising translated in German by Matthes un Destz. His next book will be published by Semiotexte with title And Phenomenology of the End.
Der Vortrag findet in englischer Sprache statt.
Bifo: NEXT Europe
Donnerstag, 15. Oktober 2015, 19 Uhr, Aula
Recently the Union has been shaken by two major crises: the first was linked to the financial problems of Southern countries of the continent particularly of Greece, the second was linked to the wave of migration at the Southern and Eastern borders. The reaction of the leading class, and particularly of the German State has been ambivalent. Generally speaking the Ordo-Liberal order imposed to the economy of the Union has provoked an impoverishment of social life, and the growing discontent of people is more and more exploited by nationalist forces. A division is emerging in the continent, and the fear of migrants has made this division quite evident.
What will be the issue of the multifaceted crisis? Why intellectuals seem unable to speak out and to propose a project for the future? What is going to happen next in the European space? Will we be able to find a way out from the alternative between aggressive financial capitalism and the resurgence of nationalism?
Franco Berardi is writer, philosopher and media-activist. In the '70s he took part to the Italian experience of Potere operaio, and founded the first radio station called Radio Alice. In the '80s he studied in Paris, in New York and in Mexico City, then was the animator of the international cyberculture of the '90s.
Recently he has published The soul at work (Semiotexte) The Uprising translated in German by Matthes un Destz. His next book will be published by Semiotexte with title And Phenomenology of the End.
Der Vortrag findet in englischer Sprache statt.
Oliver Laric: 2 recent works
Vortrag
Oliver Laric: 2 recent works
Mittwoch, 14. Oktober 2015, 19 Uhr, Aula
Oliver Laric’s work deals with Age regression, age progression, TF and Kisekae. It seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.
Laric (born 1981 in Innsbruck, Austria) lives and works in Berlin. He studied at the Universität für angewandte Kunst Wien and is a co-founder of the VVORK platform (www.vvork.com). In his talk at Städelschule he will present two recent works.
Der Vortrag findet in englischer Sprache statt.
Oliver Laric: 2 recent works
Mittwoch, 14. Oktober 2015, 19 Uhr, Aula
Oliver Laric’s work deals with Age regression, age progression, TF and Kisekae. It seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.
Laric (born 1981 in Innsbruck, Austria) lives and works in Berlin. He studied at the Universität für angewandte Kunst Wien and is a co-founder of the VVORK platform (www.vvork.com). In his talk at Städelschule he will present two recent works.
Der Vortrag findet in englischer Sprache statt.
Montag, 13. Juli 2015
Otobong Nkanga
Vortrag
Otobong Nkanga
Dienstag, 14. Juli 2015, 19 Uhr, Aula
Otobong Nkanga in conversation with Clare Molloy will be a haptic introduction to Nkanga's practice. The talk will address the process behind Nkanga's forthcoming exhibition at Portikus: her long-standing examination of “bling”, a field-trip through Namibia and the intensive workshops that she has led at the Städelschule, where she is currently a guest professor.
Crumbling Through Powdery Air follows on from In Pursuit of Bling, a work realised for the 8th Berlin Biennale, and examines the complex relationships that the desire for shining substances creates. Nkanga and Molloy are also working on a second exhibition at the Kadist Art Foundation in Paris, which deals with the extensive photographic and film material that Nkanga created in Namibia.
Otobong Nkanga is a visual artist based in Antwerp, Belgium. From 2013-2014 Nkanga was an Artist in Residence of the DAAD. Recent exhibitions include: Tracing Confessions, Museum Folkwang, Essen, DE (2015), Taste of a Stone, Stedelijk Museum, Schiedam, NL (2015); Diaspore, 14 Rooms, Basel, CH (2014); Sharjah Biennial 11, Sharjah, UAE, (2013); Across the Board: Politics of Representation, Tate Modern, The Tanks, London, UK (2012).
Clare Molloy is the Kadist Curatorial Fellow of 2015, supported by the Kadist Art Foundation (Paris/San Francisco). She studied Curatorial Studies (a master’s programme at the Staatliche Hochschule für Bildende Künste – Städelschule and Goethe University Frankfurt).
Der Vortrag findet in englischer Sprache statt.
Otobong Nkanga
Dienstag, 14. Juli 2015, 19 Uhr, Aula
Otobong Nkanga in conversation with Clare Molloy will be a haptic introduction to Nkanga's practice. The talk will address the process behind Nkanga's forthcoming exhibition at Portikus: her long-standing examination of “bling”, a field-trip through Namibia and the intensive workshops that she has led at the Städelschule, where she is currently a guest professor.
Crumbling Through Powdery Air follows on from In Pursuit of Bling, a work realised for the 8th Berlin Biennale, and examines the complex relationships that the desire for shining substances creates. Nkanga and Molloy are also working on a second exhibition at the Kadist Art Foundation in Paris, which deals with the extensive photographic and film material that Nkanga created in Namibia.
Otobong Nkanga is a visual artist based in Antwerp, Belgium. From 2013-2014 Nkanga was an Artist in Residence of the DAAD. Recent exhibitions include: Tracing Confessions, Museum Folkwang, Essen, DE (2015), Taste of a Stone, Stedelijk Museum, Schiedam, NL (2015); Diaspore, 14 Rooms, Basel, CH (2014); Sharjah Biennial 11, Sharjah, UAE, (2013); Across the Board: Politics of Representation, Tate Modern, The Tanks, London, UK (2012).
Clare Molloy is the Kadist Curatorial Fellow of 2015, supported by the Kadist Art Foundation (Paris/San Francisco). She studied Curatorial Studies (a master’s programme at the Staatliche Hochschule für Bildende Künste – Städelschule and Goethe University Frankfurt).
Der Vortrag findet in englischer Sprache statt.
Freitag, 26. Juni 2015
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Vortrag
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Mittwoch, 1. Juli 2015, 19 Uhr, Aula
Born 1954 in Milan, Alessandro Nova studied “Lettere e Filosofia” at the Università degli Studi di Milano and Art History at the Courtauld Institute of Art in London. In 1982, he earned his PhD at the Courtauld Institute of Art in London. His research was financed in 1986-1987 by the J. Paul Getty Postdoctoral Fellowship, and in 1992-94 by the Institute for Advanced Study in Princeton. From 1988 to 1994 he was an Assistant Professor at Stanford University (California, USA). In the summer semester he held the position of a C4-Professor at the Humboldt University in Berlin. In 1994, he was appointed professor of Art History of the Renaissance at the Goethe-Universität in Frankfurt am Main. In the Wintersemester of 2001-2002 he was a Guest Lecturer at the École des Hautes Études en Sciences Sociales – CEHTA (Centre d’histoire et théorie des arts) in Paris. From 2006 to 2007 he served as the managing director of the research center on the Early Modern Period at Frankfurt University (Zentrum zur Erforschung der Frühen Neuzeit, Renaissance Institut). In July 2006, he was appointed Honorary Professor of the Goethe-Universität in Frankfurt am Main. In 2010 he was a visiting Researcher at the Humboldt-University of Berlin in the research project “Bildakt und Verkörperung”. Since October 2006, Alessandro Nova has served as Director of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut.
Der Vortrag findet in englischer Sprache statt.
Alessandro Nova: The Portrait in the Art Theory of the 16th century
Mittwoch, 1. Juli 2015, 19 Uhr, Aula
Born 1954 in Milan, Alessandro Nova studied “Lettere e Filosofia” at the Università degli Studi di Milano and Art History at the Courtauld Institute of Art in London. In 1982, he earned his PhD at the Courtauld Institute of Art in London. His research was financed in 1986-1987 by the J. Paul Getty Postdoctoral Fellowship, and in 1992-94 by the Institute for Advanced Study in Princeton. From 1988 to 1994 he was an Assistant Professor at Stanford University (California, USA). In the summer semester he held the position of a C4-Professor at the Humboldt University in Berlin. In 1994, he was appointed professor of Art History of the Renaissance at the Goethe-Universität in Frankfurt am Main. In the Wintersemester of 2001-2002 he was a Guest Lecturer at the École des Hautes Études en Sciences Sociales – CEHTA (Centre d’histoire et théorie des arts) in Paris. From 2006 to 2007 he served as the managing director of the research center on the Early Modern Period at Frankfurt University (Zentrum zur Erforschung der Frühen Neuzeit, Renaissance Institut). In July 2006, he was appointed Honorary Professor of the Goethe-Universität in Frankfurt am Main. In 2010 he was a visiting Researcher at the Humboldt-University of Berlin in the research project “Bildakt und Verkörperung”. Since October 2006, Alessandro Nova has served as Director of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 24. Juni 2015
Peter Kubelka: Essbare und nichtessbare Mitteilungen.
Vortrag
Peter Kubelka: Essbare und nichtessbare Mitteilungen
Dienstag, 30. Juni 2015, 19 Uhr, Lichthalle
Peter Kubelka ist Künstler und Theoretiker. Von 1978 bis 2000 unterrichtete er an der Städelschule. 1980 änderte er mit Zustimmung des Rektors, des Rates und der Studierenden den Namen und die Ausrichtung seiner Filmklasse. Mit "Film und Kochen als Kunstgattung" wurde die Städelschule weltweit die erste Kunsthochschule, die die Disziplin "Kochen" als gleichwertig mit Malerei, Bildhauerei, Graphik und Film anerkannte und in das offizielle Curriculum aufnahm.
In der Halle der Städelschule möchte Peter Kubelka mit einem Vortrag, der auch essbare Beispiele bringt, die Bedeutung der Speisenbereitung als Ursprung aller mitteilenden Medien würdigen. Die Speisen werden von der Städelschule Filmküche unter der Leitung von Felix Bröcker zubereitet.
Seit den 1950er Jahren ist Peter Kubelka eine herausragende Figur der internationalen Filmavantgarde. Seine metrischen Filme waren Vorläufer der internationalen Bewegung des strukturellen Fims. Seine metaphorischen Filme definieren eine ausschliesslich filminherente Sprache, die zwischen den Grundelementen Ton und Bild artikuliert. Kubelka ist auch bekannt als nichtschreibender Theoretiker, der in seine Vorträge nichtverbale Elemente wie Mimik, Musik, Speisen, darstellende Objekte und Werkzeuge integriert.
Kubelka wurde im Jahr 1934 in Wien geboren. Seine Jugend verbrachte er auf dem Land in Taufkirchen (Oberösterreich). 1944-47 Wiener Sängerknaben. 1947-52 Gymnasium Linz und Wels. Beginn des Studiums aller romanischen Sprachen. Intensive Beschäftigung mit Literatur. Beginn der Loslösung aus religiöser Prägung. Ab 1949 Leichtathletik als Leistungssport. 1952-1967 Judo. 1953 Österreichischer Juniorenmeister im Diskuswerfen. 1956 Film: Mosaik im Vertrauen zur Biennale Venedig eingeladen, aber nicht von Österreich nominiert; läuft für Vietnam. 1958 Sommerakademie Alpbach, erste wirkliche Filmausstellung: "Adebar" auf einer Almwiese als dreidimensionale Skulptur auf Heuschoberpfosten aufgehängt. 1958 Weltausstellung Brüssel, begegnet amerikanischen Filmmacher (Brakhage, Breer, Anger). 1961 Unsere Afrikareise. 1962 Zerstörung aller Filmpartituren. 1964 Gründung des Österreichischen Filmmuseums. 1966 erste Amerikareise. Bis 1978 Aufenthalt hauptsächlich in den USA. Lectures an über 50 Universitäten. 1967 im Vorstand der Film Makers’ Coop, NY. Beginn der Entspezialisierung (autodidaktisches Neustudium aller Disziplinen und Kunstgattungen). 1967-1968: Arbeit an der Film Library der UNO. 1968 „Cooking Concert“ in NY. 1970 Mitbegründer der Anthology Film Archives; Design und Realisierung des ersten Invisible Cinemas. 1973 Restaurierung von Dziga Vertovs Entuziazm. 1980 Gründung von Spatium Musicum. 1976 Erstellung der Avantgardefilmsammlung für das Centre Pompidou. 1978 Professur an der der Städelschule, Frankfurt. Erstmalige Einführung der Speisenbereitung in das Curriculum einer Hochschule. Klasse für Film und Kochen als Kunstgattung.1989 Unsichtbares Kino in Wien. 1996 Zyklisches Programm: Was ist Film? 64 rotierende Programme für das Unsichtbares Kino im Filmmuseum: Das Wesen des Films in Beispielen. 2012 ANTIPHON, ein Gegenstück zu "Arnulf Rainer" und teil des Werkes MONUMENT FILM. (Peter Tscherkassky)
Kubelkas Filme:
MOSAIK IM VERTRAUEN, 1955
ADEBAR, 1957
SCHWECHATER, 1958
ARNULF RAINER, 1960
UNSERE AFRIKAREISE, 1966
PAUSE!, 1977
DICHTUNG UND WAHRHEIT, 2002
ANTIPHON, 2012
MONUMENT FILM, 2012
Die Veranstaltung wird mit freundlicher Unterstützung des Städelschule Portikus e.V. ermöglicht.
Der Vortrag findet in deutscher Sprache statt.
Peter Kubelka: Essbare und nichtessbare Mitteilungen
Dienstag, 30. Juni 2015, 19 Uhr, Lichthalle
Peter Kubelka ist Künstler und Theoretiker. Von 1978 bis 2000 unterrichtete er an der Städelschule. 1980 änderte er mit Zustimmung des Rektors, des Rates und der Studierenden den Namen und die Ausrichtung seiner Filmklasse. Mit "Film und Kochen als Kunstgattung" wurde die Städelschule weltweit die erste Kunsthochschule, die die Disziplin "Kochen" als gleichwertig mit Malerei, Bildhauerei, Graphik und Film anerkannte und in das offizielle Curriculum aufnahm.
In der Halle der Städelschule möchte Peter Kubelka mit einem Vortrag, der auch essbare Beispiele bringt, die Bedeutung der Speisenbereitung als Ursprung aller mitteilenden Medien würdigen. Die Speisen werden von der Städelschule Filmküche unter der Leitung von Felix Bröcker zubereitet.
Seit den 1950er Jahren ist Peter Kubelka eine herausragende Figur der internationalen Filmavantgarde. Seine metrischen Filme waren Vorläufer der internationalen Bewegung des strukturellen Fims. Seine metaphorischen Filme definieren eine ausschliesslich filminherente Sprache, die zwischen den Grundelementen Ton und Bild artikuliert. Kubelka ist auch bekannt als nichtschreibender Theoretiker, der in seine Vorträge nichtverbale Elemente wie Mimik, Musik, Speisen, darstellende Objekte und Werkzeuge integriert.
Kubelka wurde im Jahr 1934 in Wien geboren. Seine Jugend verbrachte er auf dem Land in Taufkirchen (Oberösterreich). 1944-47 Wiener Sängerknaben. 1947-52 Gymnasium Linz und Wels. Beginn des Studiums aller romanischen Sprachen. Intensive Beschäftigung mit Literatur. Beginn der Loslösung aus religiöser Prägung. Ab 1949 Leichtathletik als Leistungssport. 1952-1967 Judo. 1953 Österreichischer Juniorenmeister im Diskuswerfen. 1956 Film: Mosaik im Vertrauen zur Biennale Venedig eingeladen, aber nicht von Österreich nominiert; läuft für Vietnam. 1958 Sommerakademie Alpbach, erste wirkliche Filmausstellung: "Adebar" auf einer Almwiese als dreidimensionale Skulptur auf Heuschoberpfosten aufgehängt. 1958 Weltausstellung Brüssel, begegnet amerikanischen Filmmacher (Brakhage, Breer, Anger). 1961 Unsere Afrikareise. 1962 Zerstörung aller Filmpartituren. 1964 Gründung des Österreichischen Filmmuseums. 1966 erste Amerikareise. Bis 1978 Aufenthalt hauptsächlich in den USA. Lectures an über 50 Universitäten. 1967 im Vorstand der Film Makers’ Coop, NY. Beginn der Entspezialisierung (autodidaktisches Neustudium aller Disziplinen und Kunstgattungen). 1967-1968: Arbeit an der Film Library der UNO. 1968 „Cooking Concert“ in NY. 1970 Mitbegründer der Anthology Film Archives; Design und Realisierung des ersten Invisible Cinemas. 1973 Restaurierung von Dziga Vertovs Entuziazm. 1980 Gründung von Spatium Musicum. 1976 Erstellung der Avantgardefilmsammlung für das Centre Pompidou. 1978 Professur an der der Städelschule, Frankfurt. Erstmalige Einführung der Speisenbereitung in das Curriculum einer Hochschule. Klasse für Film und Kochen als Kunstgattung.1989 Unsichtbares Kino in Wien. 1996 Zyklisches Programm: Was ist Film? 64 rotierende Programme für das Unsichtbares Kino im Filmmuseum: Das Wesen des Films in Beispielen. 2012 ANTIPHON, ein Gegenstück zu "Arnulf Rainer" und teil des Werkes MONUMENT FILM. (Peter Tscherkassky)
Kubelkas Filme:
MOSAIK IM VERTRAUEN, 1955
ADEBAR, 1957
SCHWECHATER, 1958
ARNULF RAINER, 1960
UNSERE AFRIKAREISE, 1966
PAUSE!, 1977
DICHTUNG UND WAHRHEIT, 2002
ANTIPHON, 2012
MONUMENT FILM, 2012
Die Veranstaltung wird mit freundlicher Unterstützung des Städelschule Portikus e.V. ermöglicht.
Der Vortrag findet in deutscher Sprache statt.
Benedetta Tagliabue
Vortrag Architecture Class
Dean’s Honorary Lecture: Benedetta Tagliabue
Montag, 29. Juni 2015, 19 Uhr Uhr, Deutsches Architekturmuseum
Benedetta Tagliabue is a world-renown architect and the director of the architectural practice Miralles Tagliabue EMBT with offices in Barcelona and Shanghai. Her husband, Enric Miralles, led the Städelschule Architecture Class from 1990 until his death in 2000.
Tagliabue founded the architectural firm Miralles Tagliabue EMBT in 1994 in collaboration with Enric Miralles. Among EMBT’s most notable projects are the Edinburgh Parliament, Diagonal Mar Park, the Santa Caterina market in Barcelona, Campus Universitario de Vigo, and the Spanish Pavilion at the 2010 Shanghai World Expo, which was awarded the prestigious prize, "Best International Building of 2011”, by RIBA.
Tagliabue has been a visiting professor at Harvard University, Columbia University and Barcelona ETSAB and lectures regularly at architecture forums and universities. In addition to frequent jury appointments, she recently joined the jury for the Pritzker Prize. In 2004 she received an honorary doctorate from the Faculty of Arts and Social Sciences, Edinburgh Napier University, Scotland. Her work received the RIBA Stirling Prize in 2005, the National Spanish Prize in 2006, the Catalan National Prize in 2002, City of Barcelona Prize in 2005 and 2009 as well as FAD prizes in 2000, 2003 and 2007. In 2013, Tagliabue received the 2013 RIBA Jencks Award, which is given annually to an individual or practice that has recently made a major contribution internationally to both the theory and practice of architecture.
In her lecture, Tagliabue will present the urban planning and regeneration processes currently being developed in her studio, such as for the metro station in Naples, The Grand Paris Metro Station in Clichy-Montfermeil and Public Spaces in Hafencity Hamburg. She will also address the work recently completed for the Expo Milano 2015.
Der Vortrag findet in englischer Sprache statt.
Dean’s Honorary Lecture: Benedetta Tagliabue
Montag, 29. Juni 2015, 19 Uhr Uhr, Deutsches Architekturmuseum
Benedetta Tagliabue is a world-renown architect and the director of the architectural practice Miralles Tagliabue EMBT with offices in Barcelona and Shanghai. Her husband, Enric Miralles, led the Städelschule Architecture Class from 1990 until his death in 2000.
Tagliabue founded the architectural firm Miralles Tagliabue EMBT in 1994 in collaboration with Enric Miralles. Among EMBT’s most notable projects are the Edinburgh Parliament, Diagonal Mar Park, the Santa Caterina market in Barcelona, Campus Universitario de Vigo, and the Spanish Pavilion at the 2010 Shanghai World Expo, which was awarded the prestigious prize, "Best International Building of 2011”, by RIBA.
Tagliabue has been a visiting professor at Harvard University, Columbia University and Barcelona ETSAB and lectures regularly at architecture forums and universities. In addition to frequent jury appointments, she recently joined the jury for the Pritzker Prize. In 2004 she received an honorary doctorate from the Faculty of Arts and Social Sciences, Edinburgh Napier University, Scotland. Her work received the RIBA Stirling Prize in 2005, the National Spanish Prize in 2006, the Catalan National Prize in 2002, City of Barcelona Prize in 2005 and 2009 as well as FAD prizes in 2000, 2003 and 2007. In 2013, Tagliabue received the 2013 RIBA Jencks Award, which is given annually to an individual or practice that has recently made a major contribution internationally to both the theory and practice of architecture.
In her lecture, Tagliabue will present the urban planning and regeneration processes currently being developed in her studio, such as for the metro station in Naples, The Grand Paris Metro Station in Clichy-Montfermeil and Public Spaces in Hafencity Hamburg. She will also address the work recently completed for the Expo Milano 2015.
Der Vortrag findet in englischer Sprache statt.
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Vortrag Architecture Class
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Donnerstag, 25. Juni 2015, 19 Uhr, Aula
The work of Clemens Weisshaar and Reed Kram is situated on the vanishing line between the physical and digital world. In their projects an increasing degree of the integration of hard- and software systems is evident - throughout design, fabrication and operation. In his lecture, Clemens Weisshaar will speak about the Genesis and Exodus of these projects and give insights into the processes at Kram/Weisshaar.
Reed Kram and Clemens Weisshaar are rising stars in the field of design. They have been referred to as ‘the vanguard of the next generation of digital designers’ (Form Magazine) and ‘the poster boys of a new breed of designers’ (International Herald Tribune). Their office engages in the design of spaces, products and media. Key projects include the technology for Prada's Epicenter stores (2001-2004), the seminal Breeding Tables (2003), Hypersky (2006), Outrace (2010) and Robochop (2015).
Clemens Weisshaar was born in 1977 in Munich and did an apprenticeship as a metal worker before he studied product design at Central Saint Martins College of Art and Design and the Royal College of Art in London. He worked as an assistant to Konstantin Grcic for three years before founding his first office for design in 2000.
Der Vortrag findet in englischer Sprache statt.
Clemens Weisshaar: The Vanishing Line Between the Physical and the Digital
Donnerstag, 25. Juni 2015, 19 Uhr, Aula
The work of Clemens Weisshaar and Reed Kram is situated on the vanishing line between the physical and digital world. In their projects an increasing degree of the integration of hard- and software systems is evident - throughout design, fabrication and operation. In his lecture, Clemens Weisshaar will speak about the Genesis and Exodus of these projects and give insights into the processes at Kram/Weisshaar.
Reed Kram and Clemens Weisshaar are rising stars in the field of design. They have been referred to as ‘the vanguard of the next generation of digital designers’ (Form Magazine) and ‘the poster boys of a new breed of designers’ (International Herald Tribune). Their office engages in the design of spaces, products and media. Key projects include the technology for Prada's Epicenter stores (2001-2004), the seminal Breeding Tables (2003), Hypersky (2006), Outrace (2010) and Robochop (2015).
Clemens Weisshaar was born in 1977 in Munich and did an apprenticeship as a metal worker before he studied product design at Central Saint Martins College of Art and Design and the Royal College of Art in London. He worked as an assistant to Konstantin Grcic for three years before founding his first office for design in 2000.
Der Vortrag findet in englischer Sprache statt.
Montag, 22. Juni 2015
Dan Rees: Civic Pride
Vortrag
Dan Rees: Civic Pride
Montag, 22. Juni 2015, 19 Uhr, Aula
Dan Rees will speak about his painting practice, specifically his Artex series which mimic once fashionable decorative ceiling patterns, popular in 1970's Britain. He will introduce his ongoing project concerning the ‘Welsh Nicaraguan Solidarity Campaign’ looking at the structure of grass-roots activism and bottom-up politics. In this video titled ‘Solidarity’ he interviews campaigners in an attempt to get closer to a sense of what 'care' means and how this can manifest itself in contemporary society. Rees will also speak about his project 'Kelp', an attempt to rebrand tinned seaweed, a largely untapped resource in the West.
Dan Rees (b. 1982 Swansea, U.K.) lives and works in Berlin. Rees studied at the Städelschule from 2007- 2009 and graduated from Camberwell College of Arts, London in 2004.
Rees’ solo exhibitions include: ‘Stimulate Surprise’, Tanya Leighton Gallery (2015), ‘Kelp’, National Museum of Wales, Cardiff (2013); ‘Top Heavy’, T293, Rome (2013); Recent group exhibitions include: Extension du domaine du jeu [Expanding the field of play], Espace 315, Centre Pompidou, Paris; The go-between Museo Nazionale di Capodimonte, Naples, ‘Time Machine’, M-ARCO Foundation, Marseille (2013); ‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna (2012) and D’après Giorgio, Fondazione Giorgio e Isa de Chirico, Rome (2012).
Der Vortrag findet in englischer Sprache statt.
Dan Rees: Civic Pride
Montag, 22. Juni 2015, 19 Uhr, Aula
Dan Rees will speak about his painting practice, specifically his Artex series which mimic once fashionable decorative ceiling patterns, popular in 1970's Britain. He will introduce his ongoing project concerning the ‘Welsh Nicaraguan Solidarity Campaign’ looking at the structure of grass-roots activism and bottom-up politics. In this video titled ‘Solidarity’ he interviews campaigners in an attempt to get closer to a sense of what 'care' means and how this can manifest itself in contemporary society. Rees will also speak about his project 'Kelp', an attempt to rebrand tinned seaweed, a largely untapped resource in the West.
Dan Rees (b. 1982 Swansea, U.K.) lives and works in Berlin. Rees studied at the Städelschule from 2007- 2009 and graduated from Camberwell College of Arts, London in 2004.
Rees’ solo exhibitions include: ‘Stimulate Surprise’, Tanya Leighton Gallery (2015), ‘Kelp’, National Museum of Wales, Cardiff (2013); ‘Top Heavy’, T293, Rome (2013); Recent group exhibitions include: Extension du domaine du jeu [Expanding the field of play], Espace 315, Centre Pompidou, Paris; The go-between Museo Nazionale di Capodimonte, Naples, ‘Time Machine’, M-ARCO Foundation, Marseille (2013); ‘CARA DOMANI opere dalla Collezione Ernesto Esposito’, MAMbo, Bologna (2012) and D’après Giorgio, Fondazione Giorgio e Isa de Chirico, Rome (2012).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 11. Juni 2015
Kerstin Cmelka
Vortrag
Kerstin Cmelka
Mittwoch, 17. Juni 2015, 19 Uhr, Aula
In her lecture Cmelka will talk about her ongoing series of „Microdramas“ – live performances, performance videos, photographs and artist books. Dramatic miniatures related to the popular play that she produces since 2008, often in collaboration with artist friends, actors, musicians and persons from the cultural field. They display dysfunctional relationships, gestures of care as well as the impossibilities of communication between people. In a new body of work she currently deals with professional acting techniques, coaching and the public and private personality of the performer.
Kerstin Cmelka is an artist who works primarily with performance, video and photography. Recent solo exhibitions include “Kerstin Cmelka mit Manuel Gorkiewicz, Mario Mentrup, Hanno Millesi und Mandla Reuter” at Badischer Kunstverein, Karlsruhe, 2015, “Mikrodrama#11” at Kunstverein Langenhagen, 2014 and “Kunst und Lebensform”, Halle für Kunst und Medien (-KM), Graz/Austria, 2013. From 1999-2005 Cmelka studied at the Staatliche Hochschule für Bildende Künste – Städelschule.
She lives in Berlin, where she currently works as a visiting professor at the University of Fine Arts.
Der Vortrag findet in englischer Sprache statt.
Kerstin Cmelka
Mittwoch, 17. Juni 2015, 19 Uhr, Aula
In her lecture Cmelka will talk about her ongoing series of „Microdramas“ – live performances, performance videos, photographs and artist books. Dramatic miniatures related to the popular play that she produces since 2008, often in collaboration with artist friends, actors, musicians and persons from the cultural field. They display dysfunctional relationships, gestures of care as well as the impossibilities of communication between people. In a new body of work she currently deals with professional acting techniques, coaching and the public and private personality of the performer.
Kerstin Cmelka is an artist who works primarily with performance, video and photography. Recent solo exhibitions include “Kerstin Cmelka mit Manuel Gorkiewicz, Mario Mentrup, Hanno Millesi und Mandla Reuter” at Badischer Kunstverein, Karlsruhe, 2015, “Mikrodrama#11” at Kunstverein Langenhagen, 2014 and “Kunst und Lebensform”, Halle für Kunst und Medien (-KM), Graz/Austria, 2013. From 1999-2005 Cmelka studied at the Staatliche Hochschule für Bildende Künste – Städelschule.
She lives in Berlin, where she currently works as a visiting professor at the University of Fine Arts.
Der Vortrag findet in englischer Sprache statt.
Sabeth Buchmann: Rehearsing Critique
Vortrag
Sabeth Buchmann: Rehearsing Critique
Dienstag, 16. Juni 2015, 19 Uhr, Aula
Sabeth Buchmann, art historian and critic, Berlin/ Vienna, Professor of the History of Modern and Postmodern Art at the Academy of Fine Arts, Vienna. Her publications include: Co-ed. Texte Theorien der Moderne. Alois Riegl in der Kunstkritik (with Rike Frank), Berlin: b_books/ PoLyPen, 2015; Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013) with Max Jorge Hinderer Cruz (co-author), Film Avantgarde Biopolitik (ed. with Helmut Draxler and Stephan Geene, 2009). Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2006), Art After Conceptual Art (ed. with Alexander Alberro, 2006), Co-ed. of PoLyPen (b_books, Berlin). Since 1997 Advisory Board Member of Texte zur Kunst (Berlin). 1983-2000: Member of the theatre author group minimal club (Munich/ Berlin)
Regeln des (Un-)Möglichen.
Zur Kunstpraxis der späten 1980er und frühen 1990er
Von der klassisch-avantgardistischen Frage nach der gesellschaftlichen Funktionsbestimmung von Kunst geleitet, wurde diese zwischen Mitte der 1980er und 1990er Jahre zum alles bestimmenden Gegenstand künstlerischer (Institutions-)Analysen. Die (mehr oder weniger gelingende) Offenlegung herrschender Normen und Gesetze ging dabei mit dem (mehr oder weniger gelingenden) Entwurf neuer Regelwerke und ‚role models’ einher: Zu nennen wären hier Christian-Philipp Müllers Kleiner Führer durch die ehemalige Kurfürstliche Gemäldesammlung Düsseldorf (1986), Andrea Frasers (Video-) Performances Museum Highlights: A Gallery Talk (1989) oder die neo-situationistischen ‚dérives’ der Betreiberinnen des Wiener Fanzines Artfan, Linda Bilda und Ariane Müller. Unter Bezugnahme auf damals populäre Methoden der Soziologie, social history, cultural studies und Psychoanalyse galt die Aufmerksamkeit dem übergreifenden Systems aus Produzent_innen, Rezipient_innen, Kurator_innen, Sammler_innen, Kritiker_innen, Kunsthistoriker_innen etc.. Als ein in diesem Zusammenhang bezeichnendes Beispiel kann Klaus Scherübels Projekt - Melvin (1993) - insofern gelten, als es die Mechanismen der (Künstler-)Kritik im Sinne wertgenerierender Legendenbildung zu antizipieren suchte. Der Vortrag geht anhand exemplarischer Arbeiten dem ‚(re-)making of rules’ als einer Praxis nach, die schließlich auch die Wechselwirkung von Institutionskritik und neoliberalen Unternehmenskultur berührt.
Der Vortrag findet in englischer Sprache statt.
Sabeth Buchmann: Rehearsing Critique
Dienstag, 16. Juni 2015, 19 Uhr, Aula
Sabeth Buchmann, art historian and critic, Berlin/ Vienna, Professor of the History of Modern and Postmodern Art at the Academy of Fine Arts, Vienna. Her publications include: Co-ed. Texte Theorien der Moderne. Alois Riegl in der Kunstkritik (with Rike Frank), Berlin: b_books/ PoLyPen, 2015; Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013) with Max Jorge Hinderer Cruz (co-author), Film Avantgarde Biopolitik (ed. with Helmut Draxler and Stephan Geene, 2009). Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2006), Art After Conceptual Art (ed. with Alexander Alberro, 2006), Co-ed. of PoLyPen (b_books, Berlin). Since 1997 Advisory Board Member of Texte zur Kunst (Berlin). 1983-2000: Member of the theatre author group minimal club (Munich/ Berlin)
Regeln des (Un-)Möglichen.
Zur Kunstpraxis der späten 1980er und frühen 1990er
Von der klassisch-avantgardistischen Frage nach der gesellschaftlichen Funktionsbestimmung von Kunst geleitet, wurde diese zwischen Mitte der 1980er und 1990er Jahre zum alles bestimmenden Gegenstand künstlerischer (Institutions-)Analysen. Die (mehr oder weniger gelingende) Offenlegung herrschender Normen und Gesetze ging dabei mit dem (mehr oder weniger gelingenden) Entwurf neuer Regelwerke und ‚role models’ einher: Zu nennen wären hier Christian-Philipp Müllers Kleiner Führer durch die ehemalige Kurfürstliche Gemäldesammlung Düsseldorf (1986), Andrea Frasers (Video-) Performances Museum Highlights: A Gallery Talk (1989) oder die neo-situationistischen ‚dérives’ der Betreiberinnen des Wiener Fanzines Artfan, Linda Bilda und Ariane Müller. Unter Bezugnahme auf damals populäre Methoden der Soziologie, social history, cultural studies und Psychoanalyse galt die Aufmerksamkeit dem übergreifenden Systems aus Produzent_innen, Rezipient_innen, Kurator_innen, Sammler_innen, Kritiker_innen, Kunsthistoriker_innen etc.. Als ein in diesem Zusammenhang bezeichnendes Beispiel kann Klaus Scherübels Projekt - Melvin (1993) - insofern gelten, als es die Mechanismen der (Künstler-)Kritik im Sinne wertgenerierender Legendenbildung zu antizipieren suchte. Der Vortrag geht anhand exemplarischer Arbeiten dem ‚(re-)making of rules’ als einer Praxis nach, die schließlich auch die Wechselwirkung von Institutionskritik und neoliberalen Unternehmenskultur berührt.
Der Vortrag findet in englischer Sprache statt.
Joshua Oppenheimer and Adi Rukun
Filmvorführung
The Act of Killing
Sonntag, 14. Juni 2015, 11:30 Uhr, Deutsches Filmmuseum
Einführung: Sung Tieu und Thuy-Han Nguyen-Chi
Filmvorführung
The Look of Silence
Montag, 15. Juni 2015, 18 Uhr, Deutsches Filmmuseum
Einführung: Joshua Oppenheimer
Für die Filmvorführungen bitten wir um Reservierung über folgenden Link:
http://goo.gl/forms/ZsUcq2IMr0
Podiumsdiskussion
Joshua Oppenheimer and Adi Rukun: Fictions Constituting Facts
Montag, 15. Juni 2015, 20:00 Uhr, Lichthalle
The panel discussion with Joshua Oppenheimer will focus on the psychological and philosophical, aesthetical and political dimensions of his approach to cinematography in The Act of Killing (2012) and The Look of Silence (2014) that redefines the relationship between filmmaker and subject, film and audience. While exploring the notions of cinéma vérité and “documentary of the imagination”, we will look into the role of fiction, fantasy, reenactment and dramatisation in Oppenheimer’s filmmaking philosophy. The interrelationships between self-perception and performance, history and cinema, past and present underlies this reflection on the complex process of directing both films within the socio-political context of Indonesia over the course of more than a decade.
Born in 1974, USA, Oscar-nominated film director Joshua Oppenheimer is recipient of a MacArthur “Genius Grant” (2015-2019). His debut feature film, The Act of Killing (2012, 159 min and 117 min), was named Film of the Year in the 2013 by the Guardian and the Sight and Sound Film Poll, and won 72 international awards. His second film, The Look of Silence (2014, 99 min), premiered In Competition at the 71st Venice Film Festival, where it won five awards including the Grand Jury Prize, the international critics award (Fipresci Prize) and the European film critics award (Fedeora Prize). Since then, The Look of Silence has received the Danish Academy Award for Best Documentary and the prestigious Danish Arts Council Award. Oppenheimer is a partner at Final Cut for Real in Denmark, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Die Veranstaltung findet in englischer Sprache statt.
The Act of Killing
Sonntag, 14. Juni 2015, 11:30 Uhr, Deutsches Filmmuseum
Einführung: Sung Tieu und Thuy-Han Nguyen-Chi
Filmvorführung
The Look of Silence
Montag, 15. Juni 2015, 18 Uhr, Deutsches Filmmuseum
Einführung: Joshua Oppenheimer
Für die Filmvorführungen bitten wir um Reservierung über folgenden Link:
http://goo.gl/forms/ZsUcq2IMr0
Podiumsdiskussion
Joshua Oppenheimer and Adi Rukun: Fictions Constituting Facts
Montag, 15. Juni 2015, 20:00 Uhr, Lichthalle
The panel discussion with Joshua Oppenheimer will focus on the psychological and philosophical, aesthetical and political dimensions of his approach to cinematography in The Act of Killing (2012) and The Look of Silence (2014) that redefines the relationship between filmmaker and subject, film and audience. While exploring the notions of cinéma vérité and “documentary of the imagination”, we will look into the role of fiction, fantasy, reenactment and dramatisation in Oppenheimer’s filmmaking philosophy. The interrelationships between self-perception and performance, history and cinema, past and present underlies this reflection on the complex process of directing both films within the socio-political context of Indonesia over the course of more than a decade.
Born in 1974, USA, Oscar-nominated film director Joshua Oppenheimer is recipient of a MacArthur “Genius Grant” (2015-2019). His debut feature film, The Act of Killing (2012, 159 min and 117 min), was named Film of the Year in the 2013 by the Guardian and the Sight and Sound Film Poll, and won 72 international awards. His second film, The Look of Silence (2014, 99 min), premiered In Competition at the 71st Venice Film Festival, where it won five awards including the Grand Jury Prize, the international critics award (Fipresci Prize) and the European film critics award (Fedeora Prize). Since then, The Look of Silence has received the Danish Academy Award for Best Documentary and the prestigious Danish Arts Council Award. Oppenheimer is a partner at Final Cut for Real in Denmark, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Die Veranstaltung findet in englischer Sprache statt.
Montag, 8. Juni 2015
Jenny Sabin
Vortrag Architecture Class
Jenny Sabin: Matter Design Computation: Cells, Bits and Atoms
Donnerstag, 11. Juni 2015, 19 Uhr, Lichthalle
How might architecture respond to issues of ecology and sustainability whereby buildings behave more like organisms in their built environments? This talk will present ongoing trans-disciplinary research and design spanning across the fields of cell biology, materials science, physics, electrical and systems engineering, and architecture.
Jenny Sabin’s collaborative research, teaching and design practice focus on the contextual, material and formal intersections between architecture, science and technology. Through the visualisation and materialisation of dynamic and complex datasets, Sabin has generated a body of speculative and applied design work that aligns crafts-based techniques with digital fabrication alongside questions related to the body and information mediation. Her lecture will elucidate the research methods, prototypes and applications that Sabin and her collaborators have achieved, which aim to radically alter the paradigm of Responsive Architecture through architectural treatments, in the form of adaptive building skins, material assemblies, and architectural interventions that ultimately (re)configure their own performance based upon local criteria.
Jenny Sabin is an architect based in Philadelphia and Ithaca. She is currently the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University and Director of the Sabin Design Lab at Cornell AAP, a hybrid research and design unit .
She holds degrees in ceramics and interdisciplinary visual art from the University of Washington and a master of architecture from the University of Pennsylvania.Sabin is the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University.
Sabin's work has been exhibited nationally and internationally most recently at Nike Stadium NYC, the American Philosophical Society Museum and at Ars Electronic, Linz, Austria. Her work has been published in The Architectural Review, Azure, A+U, Metropolis, Mark Magazine, 306090, 10+1, ACM, American Journal of Pathology, Science, the New York Times, Wired Magazine, Metropolis and various exhibition catalogues and reviews. She co-authored Meander, Variegating Architecture with Ferda Kolatan, 2010.
Der Vortrag findet in englischer Sprache statt.
Jenny Sabin: Matter Design Computation: Cells, Bits and Atoms
Donnerstag, 11. Juni 2015, 19 Uhr, Lichthalle
How might architecture respond to issues of ecology and sustainability whereby buildings behave more like organisms in their built environments? This talk will present ongoing trans-disciplinary research and design spanning across the fields of cell biology, materials science, physics, electrical and systems engineering, and architecture.
Jenny Sabin’s collaborative research, teaching and design practice focus on the contextual, material and formal intersections between architecture, science and technology. Through the visualisation and materialisation of dynamic and complex datasets, Sabin has generated a body of speculative and applied design work that aligns crafts-based techniques with digital fabrication alongside questions related to the body and information mediation. Her lecture will elucidate the research methods, prototypes and applications that Sabin and her collaborators have achieved, which aim to radically alter the paradigm of Responsive Architecture through architectural treatments, in the form of adaptive building skins, material assemblies, and architectural interventions that ultimately (re)configure their own performance based upon local criteria.
Jenny Sabin is an architect based in Philadelphia and Ithaca. She is currently the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University and Director of the Sabin Design Lab at Cornell AAP, a hybrid research and design unit .
She holds degrees in ceramics and interdisciplinary visual art from the University of Washington and a master of architecture from the University of Pennsylvania.Sabin is the Arthur L. and Isabel B. Wiesenberger Assistant Professor in the area of Design and Emerging Technologies in the Department of Architecture at Cornell University.
Sabin's work has been exhibited nationally and internationally most recently at Nike Stadium NYC, the American Philosophical Society Museum and at Ars Electronic, Linz, Austria. Her work has been published in The Architectural Review, Azure, A+U, Metropolis, Mark Magazine, 306090, 10+1, ACM, American Journal of Pathology, Science, the New York Times, Wired Magazine, Metropolis and various exhibition catalogues and reviews. She co-authored Meander, Variegating Architecture with Ferda Kolatan, 2010.
Der Vortrag findet in englischer Sprache statt.
Montag, 1. Juni 2015
Corin Hewitt
Vortrag
Corin Hewitt: All Window
Dienstag, 9. Juni 2015, 19 Uhr, Aula
Corin Hewitt will speak on his work both as an artist and as an educator. Hewitt’s materially rigorous work employs cycles of photography, video, performance, and sculpture in an investigation of image and object making systems. Hewitt will discuss the evolution of his work and thoughts. He will also discuss a series of projects he has done with students using color as a narrative structure to develop large both films and large scale performance works.
Hewitt has exhibited widely including solo exhibitions at the Whitney Museum of American Art, Museum of Contemporary Art in Cleveland, and the Seattle Art Museum. His work has recently been recently included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; the Sao Paolo Biennial in Brazil, ; the Whitney Museum, the Henry Art Gallery, Seattle; Galerie Perrotin, Paris, with the Public Art Fund in New York, and the Wanas Foundation in Sweden.Hewitt is a recipient of the 2014/15 Rome Prize, a 2011/12 Guggenheim Fellowship, and a Joan Mitchell Foundation Grant in 2010/11. Mousse Publishing has just released a monograph on Hewitt’s work entiitled 7 Perfomances. Hewitt is represented by Laurel Gitlen Gallery in New York and Hewitt is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University.
Der Vortrag findet in englischer Sprache statt.
Corin Hewitt: All Window
Dienstag, 9. Juni 2015, 19 Uhr, Aula
Corin Hewitt will speak on his work both as an artist and as an educator. Hewitt’s materially rigorous work employs cycles of photography, video, performance, and sculpture in an investigation of image and object making systems. Hewitt will discuss the evolution of his work and thoughts. He will also discuss a series of projects he has done with students using color as a narrative structure to develop large both films and large scale performance works.
Hewitt has exhibited widely including solo exhibitions at the Whitney Museum of American Art, Museum of Contemporary Art in Cleveland, and the Seattle Art Museum. His work has recently been recently included in group exhibitions at the Astrup Fearnley Museum of Modern Art, Oslo; the Sao Paolo Biennial in Brazil, ; the Whitney Museum, the Henry Art Gallery, Seattle; Galerie Perrotin, Paris, with the Public Art Fund in New York, and the Wanas Foundation in Sweden.Hewitt is a recipient of the 2014/15 Rome Prize, a 2011/12 Guggenheim Fellowship, and a Joan Mitchell Foundation Grant in 2010/11. Mousse Publishing has just released a monograph on Hewitt’s work entiitled 7 Perfomances. Hewitt is represented by Laurel Gitlen Gallery in New York and Hewitt is an Associate Professor of Sculpture and Extended Media at Virginia Commonwealth University.
Der Vortrag findet in englischer Sprache statt.
Mai-Thu Perret
Vortrag
Mai-Thu Perret: See you on the astral plane – Objects, Narration, Performance.
Montag, 8. Juni 2015, 19 Uhr, Aula
Mai-Thu Perret is an artist who lives in Geneva, Switzerland. She is known for her multi-disciplinary practice encompassing sculpture, painting, video and installation. Perret has created a complex oeuvre which combines radical feminist politics with literary texts, homemade crafts and 20th century avant-garde aesthetics. She was born in Geneva and studied at Cambridge University and the Whitney Independent Study Program, New York. She has been awarded for both the 2011 Zurich Art Prize and le Prix Culturel Manor (2011) and took part in ILLUMInations (curated by Bice Curiger) at the 54th Venice Biennale. In 2016, Mai-Thu Perret will be the subject of a solo exhibition at the Nasher Sculpture Center, Dallas. Curating has played an important role in her practice since its inception. Among other shows she has organized Voids: A Retrospective (Centre Pompidou, Paris and Kunsthalle Bern, with John Armleder, Mathieu Copeland, Gustav Metzger and Clive Philpot).
The lecture will focus on the interplay between narrative and materiality in her work, from early experiments with a story called The Crystal Frontier to her engagement with wider historical narratives about art and politics in video installations such as An Evening of the Book. She especially wants to discuss the recent performance piece Figures, which is a collaboration between herself and dancer Anja Schmidt, musician Beatrice Dillon and singer-songwriter Tamara Barnett-Herrin.
Der Vortrag findet in englischer Sprache statt.
Mai-Thu Perret: See you on the astral plane – Objects, Narration, Performance.
Montag, 8. Juni 2015, 19 Uhr, Aula
Mai-Thu Perret is an artist who lives in Geneva, Switzerland. She is known for her multi-disciplinary practice encompassing sculpture, painting, video and installation. Perret has created a complex oeuvre which combines radical feminist politics with literary texts, homemade crafts and 20th century avant-garde aesthetics. She was born in Geneva and studied at Cambridge University and the Whitney Independent Study Program, New York. She has been awarded for both the 2011 Zurich Art Prize and le Prix Culturel Manor (2011) and took part in ILLUMInations (curated by Bice Curiger) at the 54th Venice Biennale. In 2016, Mai-Thu Perret will be the subject of a solo exhibition at the Nasher Sculpture Center, Dallas. Curating has played an important role in her practice since its inception. Among other shows she has organized Voids: A Retrospective (Centre Pompidou, Paris and Kunsthalle Bern, with John Armleder, Mathieu Copeland, Gustav Metzger and Clive Philpot).
The lecture will focus on the interplay between narrative and materiality in her work, from early experiments with a story called The Crystal Frontier to her engagement with wider historical narratives about art and politics in video installations such as An Evening of the Book. She especially wants to discuss the recent performance piece Figures, which is a collaboration between herself and dancer Anja Schmidt, musician Beatrice Dillon and singer-songwriter Tamara Barnett-Herrin.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 28. Mai 2015
Mario Carpo: The style of big data.
Vortrag Architecture Class
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Mario Carpo: The style of big data.
Donnerstag, 4. Juni 2015, 19 Uhr, Aula
Mario Carpo is an architectural historian and theorist. He is currently Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London.
Carpo's lecture addresses the "big data", not a mere quantitative phenomenon. Carpo argues that it is a major shift in the history of science, technology and in post-modern culture at large. Our approach to digital computation is no longer that of the 90s, and today digitally intelligent architecture no longer looks the way it did twenty years ago.
Carpo's research and publications focus on the relationship among architectural theory, cultural history, and the history of media and information technology. His Architecture in the Age of Printing (2001) has been translated into several languages. His most recent books are The Alphabet and the Algorithm, a history of digital design theory (2011); and The Digital Turn in Architecture, 1992-2012, an AD Reader. Mr. Carpo's recent essays and articles have been published in Log, The Journal of the Society of Architectural Historians, Grey Room, L'Architecture d'aujourd'hui, Arquitectura Viva, AD/Architectural Design, Perspecta, Harvard Design Magazine, Cornell Journal of Architecture, Abitare, Lotus International, Domus, Artforum, and Arch+.
Der Vortrag findet in englischer Sprache statt.
Philipp Demandt: Nur keine violetten Schweine!
Vortrag Curatorial Studies
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Philipp Demandt: Nur keine violetten Schweine! (Die Anfänge der Nationalgalerie zwischen Ruhmeshalle der Hohenzollern und erstem Museum für die moderne französische Kunst.)
Dienstag, 2. Juni 2015, 18 Uhr, Goethe-Universität, Campus Westend, Cas. 1.802
Die Nationalgalerie auf der Berliner Museumsinsel stand wie kein zweites Museum in Deutschland seit ihrer Begründung 1861 und Eröffnung 1876 im Spannungsfeld zwischen Kunst und Politik, Akademie und Avantgarde. Zeigte die Gründungssammlung noch einen Zeitschnitt gesamtdeutscher Kunst des 19. Jahrhunderts im internationalen Kontext, so wandelte sich das Haus alsbald zur Sammelstelle für patriotische Gesinnungskunst, deren sich die Direktoren kaum erwehren konnten. Nach 1896 erwarb der neuberufene Direktor Hugo von Tschudi als erstes Museum weltweit - noch vor Frankreich - Gemälde des französischen Impressionismus und provozierte damit einen Skandal, der ihn schlussendlich sein Amt kosten sollte.
Philipp Demandt promovierte nach einem Studium der Kunstgeschichte, Archäologie und Publizistik 2001 über die klassizistischen Porträts der Königin Luise und die historische Mythologie des deutschen Reiches. 2004-2012 war er Dezernent der Kulturstiftung der Länder, seit 2012 ist er Leiter der Alten Nationalgalerie.
Der Vortrag findet in deutscher Sprache statt.
Montag, 25. Mai 2015
Louis Becker: People, Space, Daylight
Vortrag Architecture Class
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
Louis Becker: People, Space, Daylight
Donnerstag, 28. Mai 2015, 19 Uhr, Aula
Louis Becker is Principal Partner and Design Director at Henning Larsen Architects and adjunct Professor at Aalborg University Department of Architecture and Design. He has been one of the driving forces behind a number of significant Danish and international projects - from landmark buildings to complex masterplans. In 2011, he was awarded the Eckersberg Medal by the Royal Danish Academy of Fine Arts as a special recognition of his contribution to the field of architecture and international achievements.
At Henning Larsen Architects, Becker oversees a design approach that is context driven and uses space and daylight strategies to stage human interaction. A commitment to social and environmental sustainability is inherent in all Henning Larsen Architects' projects; as society influences architecture, architecture influences society. In this presentation, Louis Becker will present recent, award-winning projects such as Moesgaard Museum, Southern University of Denmark - Campus Kolding, and Harpa Reykjavik Concert Hall and Conference Centre – winner of the European Union Prize for Contemporary Architecture, the Mies van der Rohe Award 2013.
Der Vortrag findet in englischer Sprache statt.
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