Vortrag Architektur Klasse
Michael Young: Close Attention
Donnerstag, 2. Juni 2017, 19 Uhr, Aula
One of the responsibilities of the discipline of architecture concerns the aesthetics of the background of reality. Architecture designs the objects and atmospheres that we typically engaged habitually in a state of distraction. This background of the everyday is typically what an architecture of novelty seeks to destroy through the introduction of a strong formal difference between the new and old. But, what if the more political position was to estrange the background. Such a project would require a different aesthetic focus, less attuned to a "close reading" than to thresholds of interest that spark "close attention".
In this lecture, historical examples in art, architecture, and cinema will be discussed in relation to the recent work of his architectural practice.
Michael Young is an architect and educator practicing in New York City where he is a founding partner of the architectural design studio Young & Ayata. Young & Ayata were awarded a Design Vanguard Award from Architectural Record for 2016. In 2015 they received a first place prize to design the new Bauhaus Museum in Dessau, Germany. In 2014 they received the Young Architects Prize from the Architectural League of New York, and were finalists for the MoMA Young Architects Program at the Istanbul Modern.
Michael is currently an Assistant Professor at the Cooper Union. In the Fall of 2016 he was the Louis I. Kahn Visiting Assistant Professor at Yale University. He has previously taught design studios and seminars at Princeton, SCI-Arc, Yale, Columbia, Syracuse, Pratt, Cornell and Innsbruck University. His work has been exhibited recently in New York, Los Angeles, Rotterdam, Istanbul, Milan, Chicago, Barcelona, and Princeton. Michael received his Master's Degree from Princeton University and a Bachelor of Architecture from Cal Poly San Luis Obispo.
Vortrag findet in englischer Sprache statt.
Sonntag, 28. Mai 2017
Mittwoch, 24. Mai 2017
Cristina Díaz Moreno & Efrén Gª Grinda: Macronic
Vortrag Architektur Klasse
Cristina Díaz Moreno & Efrén Gª Grinda: Macronic
Freitag, 26. Mai 2017, 19 Uhr, Aula
The lecture will verse about the articulation of new architectural vocabularies and formations coherent with the actual technological, social and cultural scenarios and a visit to AMID.cero9 recent projects. In this unprecedented global context, where every type of cultural material triggers a wild multiplicity of connections with other materials, things and situations, from people to machines to insignificant, abstract entities, the overall congruence, origin, connotations and meanings of these connections are no longer relevant to the way these materials are connected and what counts now is the universal instant access to this infinite ocean of information. The lecture will revisit the historical concepts of Third Natures and Macaronic Heteroglossia as renewed concepts capable to condense amid.cero9 recent proposals based in a both critical and optimist disciplinary attitude
amid.cero9 cultivates an afterpop approach to the contemporary notion of space that enlists sociology, technology, media, politics and representation in projects ranging from architecture (Cherry Blossom Pavilion in Jerte Valley, Spain, shown at the 12th Biennale di Venezia, Giner de los Ríos Foundation in Madrid, Diagonal80 Industrial Pavillion in Madrid) to design (ESA Pavillion), ecosystemic studies (The Magic Mountain in Ames, We as a plague in Rome, TRP in Venice) and hybrid urban projects (Aijalaranta in Jyväskylä, or Hhouse in Balearic Islands).
Cristina Díaz Moreno & Efren Gª Grinda are both architects and founders of amid.cero9. They are Guest Professors at SAC Städelschule Architectural Class, since 2016, Directors of an Option Studio at the GSD, Harvard University (2015-) and Diploma Unit Masters at the A.A. School, London (2009-). Previously they taught at the Institut für Kunst und Architektur Akademie der Bildenden Künste in Vienna. While teaching together in Madrid from 1998 till 2013 (in parallel at ETSAM and ESAYA UEM) they have been visiting professors and lecturers throughout Europe, Asia and the US. Their projects have been widely disseminated and they have won more than 40 prizes in national and international competitions. Their projects and writings of the last fifteen years were documented in 2014 in a publication entitled “Third Natures, a Micropedia” and an exhibition at the AA, London.
Freitag, 26. Mai 2017, 19 Uhr, Aula
The lecture will verse about the articulation of new architectural vocabularies and formations coherent with the actual technological, social and cultural scenarios and a visit to AMID.cero9 recent projects. In this unprecedented global context, where every type of cultural material triggers a wild multiplicity of connections with other materials, things and situations, from people to machines to insignificant, abstract entities, the overall congruence, origin, connotations and meanings of these connections are no longer relevant to the way these materials are connected and what counts now is the universal instant access to this infinite ocean of information. The lecture will revisit the historical concepts of Third Natures and Macaronic Heteroglossia as renewed concepts capable to condense amid.cero9 recent proposals based in a both critical and optimist disciplinary attitude
amid.cero9 cultivates an afterpop approach to the contemporary notion of space that enlists sociology, technology, media, politics and representation in projects ranging from architecture (Cherry Blossom Pavilion in Jerte Valley, Spain, shown at the 12th Biennale di Venezia, Giner de los Ríos Foundation in Madrid, Diagonal80 Industrial Pavillion in Madrid) to design (ESA Pavillion), ecosystemic studies (The Magic Mountain in Ames, We as a plague in Rome, TRP in Venice) and hybrid urban projects (Aijalaranta in Jyväskylä, or Hhouse in Balearic Islands).
Cristina Díaz Moreno & Efren Gª Grinda are both architects and founders of amid.cero9. They are Guest Professors at SAC Städelschule Architectural Class, since 2016, Directors of an Option Studio at the GSD, Harvard University (2015-) and Diploma Unit Masters at the A.A. School, London (2009-). Previously they taught at the Institut für Kunst und Architektur Akademie der Bildenden Künste in Vienna. While teaching together in Madrid from 1998 till 2013 (in parallel at ETSAM and ESAYA UEM) they have been visiting professors and lecturers throughout Europe, Asia and the US. Their projects have been widely disseminated and they have won more than 40 prizes in national and international competitions. Their projects and writings of the last fifteen years were documented in 2014 in a publication entitled “Third Natures, a Micropedia” and an exhibition at the AA, London.
Recent projects include Golden Balloon for MOT Tokyo, Palm Pavillion for Sharjah, United Emirates and Giner de los Ríos Foundation, the famous Institucion Libre de Enseñanza, Madrid.
Recently a monographic issue about their works have been published in El Croquis nº184.
Der Vortrag findet in englischer Sprache statt.
Recently a monographic issue about their works have been published in El Croquis nº184.
Der Vortrag findet in englischer Sprache statt.
Dienstag, 23. Mai 2017
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Vortrag Curatorial Studies
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Mittwoch, 31. Mai 2017, 18 Uhr, Campus Westend, IG-Farben-Haus, IG 411
Dario Gamboni: Ein Radioapparat im Empire-Stil: Reflektierte Konservierung der Vergangenheit in Künstler- und Sammlermuseen
Mittwoch, 31. Mai 2017, 18 Uhr, Campus Westend, IG-Farben-Haus, IG 411
Konservierung gehört zu den Aufgaben der meisten Museen und schließt allmählich die Geschichte und Substanz der Museen selbst mit ein, ihre Präsentation der Sammlungen und ihre Architektur. Daraus resultiert eine Spannung zwischen der Anpassung an sich stets verändernden Umständen und Erwartungen einerseits, Kontinuität und Selbstreflexivität andererseits. Vieles kann in diesem Kontext aus der Betrachtung von Künstler- und Sammlermuseen gewonnen werden, die sich ein unverändertes Weiterleben als Ziel geben und die Erinnerung an ihre Gründer, die Erhaltung von Kunst und Kultur erfinderisch und manchmal humorvoll pflegen.
Dario Gamboni is professor of art history at the Université de Genève. He is a honorary member of the Institut Universitaire de France, Meret Oppenheim Prize 2006, and was a Fellow at CASVA, the Henry Moore Institute, and the Clark Art Institute. He has been a guest professor at the universities of Buenos Aires, Freiburg, Frankfurt, Mexico, New Delhi (JNU), Sao Paulo, Strasbourg and Tokyo, and at the École Normale Supérieure in Paris. He has curated and co-curated exhibitions, among which Iconoclash and Making Things Public in Karlsruhe (ZKM) and Une image peut en cacher une autre in Paris (Grand Palais). His publications include The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven/London 1997), Potential Images: Ambiguity and Indeterminacy in Modern Art (London 2002), The Brush and The Pen: Odilon Redon and Literature (Chicago/London 2011), and Paul Gauguin: The “Mysterious Centre of Thought” (French edn Dijon 2013, English edn London 2014).
Der Vortrag findet in deutscher Sprache statt
Dario Gamboni is professor of art history at the Université de Genève. He is a honorary member of the Institut Universitaire de France, Meret Oppenheim Prize 2006, and was a Fellow at CASVA, the Henry Moore Institute, and the Clark Art Institute. He has been a guest professor at the universities of Buenos Aires, Freiburg, Frankfurt, Mexico, New Delhi (JNU), Sao Paulo, Strasbourg and Tokyo, and at the École Normale Supérieure in Paris. He has curated and co-curated exhibitions, among which Iconoclash and Making Things Public in Karlsruhe (ZKM) and Une image peut en cacher une autre in Paris (Grand Palais). His publications include The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven/London 1997), Potential Images: Ambiguity and Indeterminacy in Modern Art (London 2002), The Brush and The Pen: Odilon Redon and Literature (Chicago/London 2011), and Paul Gauguin: The “Mysterious Centre of Thought” (French edn Dijon 2013, English edn London 2014).
Der Vortrag findet in deutscher Sprache statt
Sonntag, 14. Mai 2017
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Vortrag Architektur Klasse
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Freitag, 19. Mai 2017, 19 Uhr, Aula
The Duck and the Document: True Stories of Postmodern Procedures will present an exhibition currently on view in Los Angeles that features a series of fragments, from handrails to façade panels, salvaged from canonic buildings of the late 20th century.
Sylvia Lavin: The Duck and the Document: True Stories of Postmodern Procedures
Freitag, 19. Mai 2017, 19 Uhr, Aula
The Duck and the Document: True Stories of Postmodern Procedures will present an exhibition currently on view in Los Angeles that features a series of fragments, from handrails to façade panels, salvaged from canonic buildings of the late 20th century.
Typically associated with drawing and the circulation of media images, postmodern architecture is generally understood to have been largely a matter of style and surface ornament, freed from the exigencies of political and technical systems by the force of architectural autonomy. The Duck and the Document challenges this view by embedding the expected imagery of postmodernity within materials that demonstrate the dense tangle of regulations, production specifications and technologies that constrained architectural design rather than liberated it. While these True Stories of Postmodern Procedures describe a less heroic and autonomous architect, they also produce a more persuasive account of architectural ingenuity as it sought to survive the bureaucratization not merely of the architectural profession but of the very idea of architecture. Featuring artifacts from the buildings and archives of Peter Eisenman, Deborah Sussman, Charles Moore, Mike Reynolds, SITE and others.
Sylvia Lavin is a critic, historian and curator whose work explores the limits of architecture across a wide spectrum of historical periods. She is Professor, Director of PhD Programs and former Chair of the Department of Architecture and Urban Design at UCLA and has taught at Princeton, Harvard, and Columbia among other schools. She is a is a frequent contributor to journals such as Artforum, Perspecta and Log and among her books are Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture, Kissing Architecture and Flash in the Pan. Recent exhibitions include Everything Loose Will Land: Art and Architecture in Los Angeles in the 1970s, The New Creativity and The Artless Drawing. She has been recognized by many grants and awards, most recently from the American Academy of Arts and Letters, the Getty Research Institute and the Graham Foundation. She is currently working on The Duck and The Document: True Stories of Postmodern Procedure, an exhibition that originated at the Princeton School of Architecture Gallery as Salvage, is currently on view at the SCI-Arc Gallery and will appear an expanded form at the Canadian Center for Architecture in 2018.
Der Vortrag findet in englischer Sprache statt.
Sylvia Lavin is a critic, historian and curator whose work explores the limits of architecture across a wide spectrum of historical periods. She is Professor, Director of PhD Programs and former Chair of the Department of Architecture and Urban Design at UCLA and has taught at Princeton, Harvard, and Columbia among other schools. She is a is a frequent contributor to journals such as Artforum, Perspecta and Log and among her books are Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture, Kissing Architecture and Flash in the Pan. Recent exhibitions include Everything Loose Will Land: Art and Architecture in Los Angeles in the 1970s, The New Creativity and The Artless Drawing. She has been recognized by many grants and awards, most recently from the American Academy of Arts and Letters, the Getty Research Institute and the Graham Foundation. She is currently working on The Duck and The Document: True Stories of Postmodern Procedure, an exhibition that originated at the Princeton School of Architecture Gallery as Salvage, is currently on view at the SCI-Arc Gallery and will appear an expanded form at the Canadian Center for Architecture in 2018.
Der Vortrag findet in englischer Sprache statt.
Hélène Frichot: Posthuman Landscapes, Things and Thinkables
Vortrag Architektur Klasse
On the cover of Arch+ Journal of Architecture and Urbanism (volume 51, 2016), an image is featured of what appears to be a lumpen rock with grotto-like crevices, yet there is little indication of actual scale. The rock could be the size of a meteorite, or a piece of chewed up, spat out gum. Between 2009 and early 2011, at a women-only show called Elles at the Centre Pompidou in Paris, a small section of the exhibition was dedicated to female architects. In a glass vitrine clustered amidst the other exhibits, a model of ambiguous scale represented a sample of computationally generated architectures. It was composed of delicate, allusively biological curlicues set against a textured, arid ground. From 2005 onwards, coordinated as an astonishing matrix of connections around urgent matters of care pertaining to imperiled oceanic environments, a collective of 8000 people - mostly women - in 27 countries, began crocheting an enormous, distributed coral reef out of yarn, plastic and various discarded things. This globally distributed hand-crafted exercise is based on a geometric model of hyperbolic planes. While the three projects described above bear little resemblance to what we might conventionally identify as architecture, each one can be situated as a form of response to the ‘general crisis’ (environmental, economic, socio-political) of our contemporary posthuman condition.
Setting these three projects against the backdrop of what she calls "posthuman landscapes" and in relation to a conceptual account of things and thinkables, Frichot will ask what more could architecture potentially do to ameliorate our shared environment-worlds.
Hélène Frichot is an Associate Professor and Docent in Critical Studies in Architecture, School of Architecture and the Built Environment, KTH, Stockholm, where she is the director of Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy. While her first discipline is architecture, she holds a PhD in philosophy from the University of Sydney (2004). Recent publications include: Architecture and Feminisms: Ecologies, Economies, Technologies, co-edited with Catharina Gabrielsson and Helen Runting (Routledge, 2017 forthcoming); How to Make Yourself a Feminist Design Power Tool (AADR, 2016); Deleuze and the City, co-edited with Catharina Gabrielsson and Jonathan Metzger (EUP, 2016); De-Signing Design: Cartographies of Theory and Practice, co-edited with Elizabeth Grierson, Harriet Edquist (Lexington Books, 2015).
Der Vortrag findet in englischer Sprache statt.
Hélène Frichot: Posthuman Landscapes, Things and Thinkables
Dienstag, 16. Mai 2017, 19 Uhr, Aula
Dienstag, 16. Mai 2017, 19 Uhr, Aula
On the cover of Arch+ Journal of Architecture and Urbanism (volume 51, 2016), an image is featured of what appears to be a lumpen rock with grotto-like crevices, yet there is little indication of actual scale. The rock could be the size of a meteorite, or a piece of chewed up, spat out gum. Between 2009 and early 2011, at a women-only show called Elles at the Centre Pompidou in Paris, a small section of the exhibition was dedicated to female architects. In a glass vitrine clustered amidst the other exhibits, a model of ambiguous scale represented a sample of computationally generated architectures. It was composed of delicate, allusively biological curlicues set against a textured, arid ground. From 2005 onwards, coordinated as an astonishing matrix of connections around urgent matters of care pertaining to imperiled oceanic environments, a collective of 8000 people - mostly women - in 27 countries, began crocheting an enormous, distributed coral reef out of yarn, plastic and various discarded things. This globally distributed hand-crafted exercise is based on a geometric model of hyperbolic planes. While the three projects described above bear little resemblance to what we might conventionally identify as architecture, each one can be situated as a form of response to the ‘general crisis’ (environmental, economic, socio-political) of our contemporary posthuman condition.
Setting these three projects against the backdrop of what she calls "posthuman landscapes" and in relation to a conceptual account of things and thinkables, Frichot will ask what more could architecture potentially do to ameliorate our shared environment-worlds.
Hélène Frichot is an Associate Professor and Docent in Critical Studies in Architecture, School of Architecture and the Built Environment, KTH, Stockholm, where she is the director of Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy. While her first discipline is architecture, she holds a PhD in philosophy from the University of Sydney (2004). Recent publications include: Architecture and Feminisms: Ecologies, Economies, Technologies, co-edited with Catharina Gabrielsson and Helen Runting (Routledge, 2017 forthcoming); How to Make Yourself a Feminist Design Power Tool (AADR, 2016); Deleuze and the City, co-edited with Catharina Gabrielsson and Jonathan Metzger (EUP, 2016); De-Signing Design: Cartographies of Theory and Practice, co-edited with Elizabeth Grierson, Harriet Edquist (Lexington Books, 2015).
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 4. Mai 2017
Sichtbarkeiten des Archivs
Symposium Curatorial Studies
Sichtbarkeiten des Archivs
Ein Studientag anlässlich der Einrichtung des Archiv Peter Roehr am MMK Museum für Moderne Kunst
Donnerstag, 1. Juni, 20 Uhr - Freitag, 2. Juni, 9.30 – 17 Uhr
Wie können Archivbestände sichtbar gemacht werden? Aus unterschiedlichen, institutionellen Perspektiven wird das spezifische Potenzial diskutiert, das Archivmaterialien in Museen und Ausstellungen entfalten können. Als Exponate ermöglichen sie andere mediale und historische Zugänge zu künstlerischen Reflexionen und Diskursen, zu Ausstellungs- und Sammlungsgeschichten und sind mehr als ein bloßer Dokumentationsgegenstand. Zudem ermöglicht die Digitalisierung eine breite Zugänglichkeit für den wissenschaftlichen Umgang mit den Forschungsmaterialien. Anlass für den Studientag ist die Präsentation ausgewählter Materialien aus dem Archiv Peter Roehr im MMK und die Freischaltung einer Onlinedatenbank als digitaler Zugang zu dem gesamten Archivbestand.
Programm
Donnerstag, 01.06.2017, 20 Uhr,
Goethe-Universität, Eisenhower Saal, IG 1.314
Sabine Breitwieser (Museum der Moderne Salzburg)
Für eine emanzipierte Öffentlichkeit: Archive und Sammlungen erschließen
Freitag, 02.06.2017, 9.30–17 Uhr
MMK 1
9.30 Uhr
Peter Gorschlüter
Begrüßung
9.45 Uhr
Stefanie Heraeus und Christian Spies
Einführung
Sichtbarkeiten des Archivs
Ein Studientag anlässlich der Einrichtung des Archiv Peter Roehr am MMK Museum für Moderne Kunst
Donnerstag, 1. Juni, 20 Uhr - Freitag, 2. Juni, 9.30 – 17 Uhr
Wie können Archivbestände sichtbar gemacht werden? Aus unterschiedlichen, institutionellen Perspektiven wird das spezifische Potenzial diskutiert, das Archivmaterialien in Museen und Ausstellungen entfalten können. Als Exponate ermöglichen sie andere mediale und historische Zugänge zu künstlerischen Reflexionen und Diskursen, zu Ausstellungs- und Sammlungsgeschichten und sind mehr als ein bloßer Dokumentationsgegenstand. Zudem ermöglicht die Digitalisierung eine breite Zugänglichkeit für den wissenschaftlichen Umgang mit den Forschungsmaterialien. Anlass für den Studientag ist die Präsentation ausgewählter Materialien aus dem Archiv Peter Roehr im MMK und die Freischaltung einer Onlinedatenbank als digitaler Zugang zu dem gesamten Archivbestand.
Programm
Donnerstag, 01.06.2017, 20 Uhr,
Goethe-Universität, Eisenhower Saal, IG 1.314
Sabine Breitwieser (Museum der Moderne Salzburg)
Für eine emanzipierte Öffentlichkeit: Archive und Sammlungen erschließen
Freitag, 02.06.2017, 9.30–17 Uhr
MMK 1
9.30 Uhr
Peter Gorschlüter
Begrüßung
9.45 Uhr
Stefanie Heraeus und Christian Spies
Einführung
10 Uhr
Heike Gfrereis (Deutsches Literaturarchiv Marbach)
Das sichtbare Individuelle oder dreierlei Archive: Friedrich Schiller, W. G. Sebald und Ernst Jünger
11 Uhr
Paul Maenz, Mario Kramer und Nadine Hahn
Zum Archiv Peter Roehr mit gemeinsamem Besuch der Archiv-Schau im MMK 1
13.30 Uhr
Dietmar Elger (Gerhard Richter Archiv, Dresden)
Zum Archiv von Gerhard Richter
14.30 Uhr
Anette Kruszynski (Kunstsammlung Düsseldorf)
Kunstwerk oder Dokument? Das Archiv Dorothee und Konrad Fischer
16.30 Uhr
Mario Kramer (MMK Museum für Moderne Kunst Frankfurt)
Führung durch die Ausstellung „Primary Structures. Meisterwerke der Minimal Art“
(MMK 2 im Taunus Turm)
17.30 Uhr
Ende der Tagung
Eintritt frei.
Die Veranstaltung findet in deutscher Sprache statt.
Eine Kooperation der Curatorial Studies, des Kunstgeschichtlichen Institut der Goethe-Universität Frankfurt und des MMK Museum für Moderne Kunst Frankfurt am Main.
Heike Gfrereis (Deutsches Literaturarchiv Marbach)
Das sichtbare Individuelle oder dreierlei Archive: Friedrich Schiller, W. G. Sebald und Ernst Jünger
11 Uhr
Paul Maenz, Mario Kramer und Nadine Hahn
Zum Archiv Peter Roehr mit gemeinsamem Besuch der Archiv-Schau im MMK 1
13.30 Uhr
Dietmar Elger (Gerhard Richter Archiv, Dresden)
Zum Archiv von Gerhard Richter
14.30 Uhr
Anette Kruszynski (Kunstsammlung Düsseldorf)
Kunstwerk oder Dokument? Das Archiv Dorothee und Konrad Fischer
16.30 Uhr
Mario Kramer (MMK Museum für Moderne Kunst Frankfurt)
Führung durch die Ausstellung „Primary Structures. Meisterwerke der Minimal Art“
(MMK 2 im Taunus Turm)
17.30 Uhr
Ende der Tagung
Eintritt frei.
Die Veranstaltung findet in deutscher Sprache statt.
Eine Kooperation der Curatorial Studies, des Kunstgeschichtlichen Institut der Goethe-Universität Frankfurt und des MMK Museum für Moderne Kunst Frankfurt am Main.
Freitag, 28. April 2017
Gabi Schillig: Responsive Architectures: Dialogical Spaces
Vortrag Architektur Klasse
Gabi Schillig: Responsive Architectures: Dialogical Spaces
Donnerstag, 4. Mai 2017, 19 Uhr, Aula
HOSTED BY FOUNDATION STÄDELSCHULE FÜR BAUKUNST
Not only our objects are becoming more virtual but also our spaces. Genuine common action and
communication, on the other hand, is closely linked to corporeality and to materiality, to the direct
experience of the impact and significance of an action. Humans, as sensual and living beings, and their relations and interactions with space they are a part of and which they influence through their actions, are at the core of Gabi Schillig´s artistic investigations.
HOSTED BY FOUNDATION STÄDELSCHULE FÜR BAUKUNST
Not only our objects are becoming more virtual but also our spaces. Genuine common action and
communication, on the other hand, is closely linked to corporeality and to materiality, to the direct
experience of the impact and significance of an action. Humans, as sensual and living beings, and their relations and interactions with space they are a part of and which they influence through their actions, are at the core of Gabi Schillig´s artistic investigations.
The question of body, materiality and physicality becomes an important criterion: the choice of material and the development of structure not only affect the geometric and spatial properties of objects and spaces, but also transport multi-sensory and atmospheric aspects that can be used to enfold spaces of communication: within exhibition and interior spaces, spatial installations, through instruments and in urban environments and landscapes. 'Dialogical Spaces’ are performative spaces that invite the viewer to become an active participant. Interactions not only establish corporeal, time-based, spatial or object-based relationships but also communicative and social relations between people. They enable another kind of perception of space and enfold potential spaces in which experimental spatial constructs act as mediating structures and surfaces.
Gabi Schillig studied Architecture in Coburg and completed her postgraduate studies at the Städelschule Architecture Class in the early 2000’s with Prof. Ben van Berkel, before founding the Studio for Dialogical Spaces in Berlin. In the past she taught Space-Related Systems and Exhibition Design at the Berlin University of the Arts’ Institute for Transmedia Design, as well as in the Architecture Class at Städelschule Frankfurt. In 2012 she was appointed as Professor for Spatial Design at the Düsseldorf University of Applied Sciences - Peter Behrens School of Arts (PBSA) at the Faculty of Design. Since 2015 she is the vice chairwoman of the Institute for Research in Applied Arts (IRAA) at the PBSA. Since 2005 she is teaching and lecturing in trans-disciplinary contexts, has exhibited internationally and received several fellowships and prizes, amongst others: Akademie Schloss Solitude Stuttgart (2007-08), Van Alen Institute New York (2009), Nordic Artists´ Centre Dale (2010),Weissenhof Architekturförderpreis (2010), KHOJ International Artists´ Association New Delhi (2011) and Largodas Artes Rio de Janeiro (2015). In 2016 she was a resident fellow at the Stiftung Bauhaus Dessau.
Gabi Schillig studied Architecture in Coburg and completed her postgraduate studies at the Städelschule Architecture Class in the early 2000’s with Prof. Ben van Berkel, before founding the Studio for Dialogical Spaces in Berlin. In the past she taught Space-Related Systems and Exhibition Design at the Berlin University of the Arts’ Institute for Transmedia Design, as well as in the Architecture Class at Städelschule Frankfurt. In 2012 she was appointed as Professor for Spatial Design at the Düsseldorf University of Applied Sciences - Peter Behrens School of Arts (PBSA) at the Faculty of Design. Since 2015 she is the vice chairwoman of the Institute for Research in Applied Arts (IRAA) at the PBSA. Since 2005 she is teaching and lecturing in trans-disciplinary contexts, has exhibited internationally and received several fellowships and prizes, amongst others: Akademie Schloss Solitude Stuttgart (2007-08), Van Alen Institute New York (2009), Nordic Artists´ Centre Dale (2010),Weissenhof Architekturförderpreis (2010), KHOJ International Artists´ Association New Delhi (2011) and Largodas Artes Rio de Janeiro (2015). In 2016 she was a resident fellow at the Stiftung Bauhaus Dessau.
Both in her artistic work and teaching she investigates contemporary and future questions of spatial design such as the relationship between space and body, the emergence of spatial systems, the potentials of materiality and the experimental use of analogue and digital design methodologies. Her conceptual approach results in multi-sensory, dialogical structures and spaces of communication on multiple scales and in different spatial contexts. They lead to the concept of a multidimensional spatiality, based on social and physical processes and connect materiality and interaction in an immediate way.
Der Vortrag findet in englischer Sprache statt.
Der Vortrag findet in englischer Sprache statt.
Montag, 24. April 2017
PURE FICTION INTERNATIONAL ART BOOKFAIR
Buchmesse
PURE FICTION INTERNATIONAL ART BOOKFAIR
Freitag, 28 April 2017, 10 - 19 Uhr, Lichthalle
Join Pure Fiction, Agatha Magazine, Oslo ∞ Arjan Jarry, Cologne ∞ Bauer Verlag, Frankfurt ∞ Willarson Brandt, La Tuna ∞ Broken Dimanche Press, Berlin ∞ Galerie Buchholz, Cologne ∞ Douglas Hyde Gallery, Dublin ∞ Ames Gerould, Berlin ∞ Impure Fiction ∞ Luzie Meyer, Berlin ∞ Maria Editions, New York ∞ Marq v. Schlegell, Cologne ∞ Merve Verlag ∞ OCR, London ∞ Perimeter Books, Melbourne ∞ Portikus, Frankfurt ∞ RE/Search Publications, San Francisco ∞ Sandberg Institute, Amsterdam ∞ Semiotext(e), Los Angeles ∞ STARSHIP Magazine, Berlin ∞ Sternberg Press, Berlin ∞ Josef Strau, Boston/Frankfurt ∞ Jennifer Teets, Paris ∞ Texte zur Kunst, Berlin ∞ Uncle Chop Chop, Glasgow
PURE FICTION INTERNATIONAL ART BOOKFAIR
Freitag, 28 April 2017, 10 - 19 Uhr, Lichthalle
Join Pure Fiction, Agatha Magazine, Oslo ∞ Arjan Jarry, Cologne ∞ Bauer Verlag, Frankfurt ∞ Willarson Brandt, La Tuna ∞ Broken Dimanche Press, Berlin ∞ Galerie Buchholz, Cologne ∞ Douglas Hyde Gallery, Dublin ∞ Ames Gerould, Berlin ∞ Impure Fiction ∞ Luzie Meyer, Berlin ∞ Maria Editions, New York ∞ Marq v. Schlegell, Cologne ∞ Merve Verlag ∞ OCR, London ∞ Perimeter Books, Melbourne ∞ Portikus, Frankfurt ∞ RE/Search Publications, San Francisco ∞ Sandberg Institute, Amsterdam ∞ Semiotext(e), Los Angeles ∞ STARSHIP Magazine, Berlin ∞ Sternberg Press, Berlin ∞ Josef Strau, Boston/Frankfurt ∞ Jennifer Teets, Paris ∞ Texte zur Kunst, Berlin ∞ Uncle Chop Chop, Glasgow
BOOKS
EDITIONS
EVENTS
POSTERS
T SHIRTS
ART BOOKS
ART
Hyper-collectibles ...
independentartbookfair@gmail.com
EDITIONS
EVENTS
POSTERS
T SHIRTS
ART BOOKS
ART
Hyper-collectibles ...
independentartbookfair@gmail.com
Freitag, 21. April 2017
Theodore Spyropoulos: Behaviours
Vortrag Architektur Klasse
Theodore Spyropoulos: Behaviours
Donnerstag, 27. April 2017, 19 Uhr, Aula
If science fiction has become fact, architecture today has to move beyond representation and the fixed and finite tendencies that declare what architecture should be and work towards what it could be. Within these evolving territories, by necessity new models must conceptualize our ever-evolving present and the uncertain and latent world within which we operate. The once comfortable and understood orthodoxies in architectural thinking have proven limited in their capacity to engage and address our contemporary condition.
Today, the intersections of information, life, and matter display complexities that suggest the possibility of a deeper synthesis. As we live in ever-evolving information-rich environments, the question is not why, but how architecture can actively participate. In this expanded field of experimentation, architecture should be understood beyond building, beyond materiality and the inert tendencies that conventionally define it. Architecture in this talk will be argued as a means to interrogate the contemporary condition and to provide a framework within which to operate.
Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s world renowned Design Research Lab (AADRL) in London. He has been a visiting Research Fellow at M.I.T.’s Center for Advanced Visual Studies and co-founded the New Media and Information Research initiative at the AA. Theodore has taught in the graduate school of UPENN, Royal College of Art Innovation Design Engineering Department and the University of Innsbruck. In 2002 he founded the experimental architecture and design practice Minimaforms. The work of Minimaforms has been acquired by the FRAC Centre, the Signum Foundation and the Archigram Archive, and has exhibited at MOMA, Barbican Centre, Detroit Institute of Arts, Onassis Cultural Centre and the ICA. Previously Theodore has worked as a project architect for the offices of Peter Eisenman and Zaha Hadid. In 2013 the Association for Computer-Aided Design in Architecture awarded him The ACADIA award of excellence for his educational work directing the AADRL.
Spyropoulos returns to Städelschule to give this lecture after having previously been a visiting critic to the Städelschule Architecture Class End-of-Year Reviews.
Der Vortrag findet in englischer Sprache statt.
Theodore Spyropoulos: Behaviours
Donnerstag, 27. April 2017, 19 Uhr, Aula
If science fiction has become fact, architecture today has to move beyond representation and the fixed and finite tendencies that declare what architecture should be and work towards what it could be. Within these evolving territories, by necessity new models must conceptualize our ever-evolving present and the uncertain and latent world within which we operate. The once comfortable and understood orthodoxies in architectural thinking have proven limited in their capacity to engage and address our contemporary condition.
Today, the intersections of information, life, and matter display complexities that suggest the possibility of a deeper synthesis. As we live in ever-evolving information-rich environments, the question is not why, but how architecture can actively participate. In this expanded field of experimentation, architecture should be understood beyond building, beyond materiality and the inert tendencies that conventionally define it. Architecture in this talk will be argued as a means to interrogate the contemporary condition and to provide a framework within which to operate.
Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s world renowned Design Research Lab (AADRL) in London. He has been a visiting Research Fellow at M.I.T.’s Center for Advanced Visual Studies and co-founded the New Media and Information Research initiative at the AA. Theodore has taught in the graduate school of UPENN, Royal College of Art Innovation Design Engineering Department and the University of Innsbruck. In 2002 he founded the experimental architecture and design practice Minimaforms. The work of Minimaforms has been acquired by the FRAC Centre, the Signum Foundation and the Archigram Archive, and has exhibited at MOMA, Barbican Centre, Detroit Institute of Arts, Onassis Cultural Centre and the ICA. Previously Theodore has worked as a project architect for the offices of Peter Eisenman and Zaha Hadid. In 2013 the Association for Computer-Aided Design in Architecture awarded him The ACADIA award of excellence for his educational work directing the AADRL.
Spyropoulos returns to Städelschule to give this lecture after having previously been a visiting critic to the Städelschule Architecture Class End-of-Year Reviews.
Der Vortrag findet in englischer Sprache statt.
Sirah Foighel Brutmann and Eitan Efrat
Vortrag
Sirah Foighel Brutmann & Eitan Efrat
Montag, 24. April 2017, 19 Uhr, Aula
Sirah Foighel Brutmann and Eitan Efrat (both *1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the audiovisual field. They are living and working in Brussels.
Sirah Foighel Brutmann & Eitan Efrat
Montag, 24. April 2017, 19 Uhr, Aula
Sirah Foighel Brutmann and Eitan Efrat (both *1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the audiovisual field. They are living and working in Brussels.
Sirah Foighel Brutmann and Eitan Efrat's practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory.
In their lecture at Städelschule, Sirah Foighel Brutmann and Eitan Efrat will talk about their practice and their projects, including Printed Matter (2011), an approximately 30-minute rear projection, which is part of the exhibition Slide show at Portikus.
Der Vortrag findet in englischer Sprache statt.
In their lecture at Städelschule, Sirah Foighel Brutmann and Eitan Efrat will talk about their practice and their projects, including Printed Matter (2011), an approximately 30-minute rear projection, which is part of the exhibition Slide show at Portikus.
Der Vortrag findet in englischer Sprache statt.
Mittwoch, 19. April 2017
VOINA
Vortrag
VOINA
Donnerstag, 20. April 2017, 19 Uhr, Aula
VOINA is a Russian street-art group known for their politically motivated and wryly provocative 'actions', such as Banning of Clubs, 2008, in which the doors to an elite Moscow club were welded shut with an oxy-acetylene torch, and Palace Revolution, 2010, where police cars were flipped over on the pretext of retrieving a football lost by a child.
We are pleased to introduce VOINA members Natalia Sokol, Oleg Vorotnikov, and their three children for a lecture taking place in the Aula.
https://www.liveleak.com/view?i=ccc_1443619675
Der Vortrag findet in englischer Sprache statt.
VOINA
Donnerstag, 20. April 2017, 19 Uhr, Aula
VOINA is a Russian street-art group known for their politically motivated and wryly provocative 'actions', such as Banning of Clubs, 2008, in which the doors to an elite Moscow club were welded shut with an oxy-acetylene torch, and Palace Revolution, 2010, where police cars were flipped over on the pretext of retrieving a football lost by a child.
We are pleased to introduce VOINA members Natalia Sokol, Oleg Vorotnikov, and their three children for a lecture taking place in the Aula.
https://www.liveleak.com/view?i=ccc_1443619675
Der Vortrag findet in englischer Sprache statt.
Montag, 13. Februar 2017
Marina Rosenfeld
Vortrag
Marina Rosenfeld
Dienstag, 14. Februar 2017, 19 Uhr, Aula
Since the 1990s, Marina Rosenfeld, a New York-based artist and composer, has produced a dense oeuvre of sound works, installations and performative works, often involving the resonance and architecture of monumental spaces. Working at the limits of music composition and performance, but also corralling drawing and notation, Rosenfeld's pieces have foregrounded the complex of material and other conditions that define the situation where music is enacted. Since her early project the Sheer Frost Orchestra, an all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation.
In her lecture at Städelschule Marina Rosenfeld will talk about her practice and her latest projects, including Free Exercise (2014-2016), a collective performance presented at La Biennale de Montréal as well as about her upcoming exhibition, titled Deathstar, at Portikus, which opens February 17, 2017 at 7 PM.
Der Vortrag findet in englischer Sprache statt.
Marina Rosenfeld
Dienstag, 14. Februar 2017, 19 Uhr, Aula
Since the 1990s, Marina Rosenfeld, a New York-based artist and composer, has produced a dense oeuvre of sound works, installations and performative works, often involving the resonance and architecture of monumental spaces. Working at the limits of music composition and performance, but also corralling drawing and notation, Rosenfeld's pieces have foregrounded the complex of material and other conditions that define the situation where music is enacted. Since her early project the Sheer Frost Orchestra, an all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation.
In her lecture at Städelschule Marina Rosenfeld will talk about her practice and her latest projects, including Free Exercise (2014-2016), a collective performance presented at La Biennale de Montréal as well as about her upcoming exhibition, titled Deathstar, at Portikus, which opens February 17, 2017 at 7 PM.
Der Vortrag findet in englischer Sprache statt.
Freitag, 3. Februar 2017
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Vortrag
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Mittwoch, 8. Februar 2017, 19 Uhr, Aula
“Aller Jamais Retour” is the mantra of Tabea Blumenschein and Ulrike Ottinger’s joined film project „Bildnis einer Trinkerin“ from 1979, in which the former plays a woman who travels to Berlin to drink herself to death. And she does so beautifully, acting out her public and private carouse as a flamboyant act of antisocial behaviour, that puts to shame the stereotypical social roles of female drinking as either a bourgeois privatized tragedy or a proletarian publicly displayed disgrace. Blumenschein and Ottinger propose an antisocial female, one whose role is non-reproductive and rather destructive – not (only) for herself but more so for the social order she exempts herself from. And they are far from alone in this endeavour.
There is whole a history of such antisocial forms in modern and contemporary art, stretching from the French Symbolists, to early Salvador Dalí, to the destruction art of the 1960s and Lee Lozano’s instruction pieces and paintings, all the way to more contemporary positions such as Ian White, Michaela Eichwald, Steve Reinke or Sidsel Meineche Hansen.
In “Aller Jamais Retour” I want to argue that specifically within a present tense that is marked by the de-socialization of modern forms of life, the idea of an antisocial art becomes of more and more interest. The history of an art that does not so much aim at mending the contemporary brutalisms, but rather reflects them back, formalizes and materializes them and fills them with divergent desires and affects. In this talk I want to look at a couple of examples of such an antisocial art to test out their relations and align their possibly shared forces.
Kerstin Stakemeier is a Berlin-based educator and writer. She works as a professor of Art Theory and Mediation at the Academy of Arts Nuremberg and contributes to Artforum and Texte zur Kunst a.o.. In 2016 „Reproducing Autonomy" (co-authored with Marina Vishmidt) came out, in 2017 „Entgrenzter Formalismus“ (Debordered Formalism) will be published, and the long-term exhibition and magazine project „Klassensprachen / Class Languages“ (with Manuela Ammer, Eva Birkenstock, Jenny Nachtigall, Stephanie Weber) will start with two group shows in Berlin and Düsseldorf and two magazine issues.
Kerstin Stakemeier: Aller Jamais Retour. Art and Antisocial Socialization
Mittwoch, 8. Februar 2017, 19 Uhr, Aula
“Aller Jamais Retour” is the mantra of Tabea Blumenschein and Ulrike Ottinger’s joined film project „Bildnis einer Trinkerin“ from 1979, in which the former plays a woman who travels to Berlin to drink herself to death. And she does so beautifully, acting out her public and private carouse as a flamboyant act of antisocial behaviour, that puts to shame the stereotypical social roles of female drinking as either a bourgeois privatized tragedy or a proletarian publicly displayed disgrace. Blumenschein and Ottinger propose an antisocial female, one whose role is non-reproductive and rather destructive – not (only) for herself but more so for the social order she exempts herself from. And they are far from alone in this endeavour.
There is whole a history of such antisocial forms in modern and contemporary art, stretching from the French Symbolists, to early Salvador Dalí, to the destruction art of the 1960s and Lee Lozano’s instruction pieces and paintings, all the way to more contemporary positions such as Ian White, Michaela Eichwald, Steve Reinke or Sidsel Meineche Hansen.
In “Aller Jamais Retour” I want to argue that specifically within a present tense that is marked by the de-socialization of modern forms of life, the idea of an antisocial art becomes of more and more interest. The history of an art that does not so much aim at mending the contemporary brutalisms, but rather reflects them back, formalizes and materializes them and fills them with divergent desires and affects. In this talk I want to look at a couple of examples of such an antisocial art to test out their relations and align their possibly shared forces.
Kerstin Stakemeier is a Berlin-based educator and writer. She works as a professor of Art Theory and Mediation at the Academy of Arts Nuremberg and contributes to Artforum and Texte zur Kunst a.o.. In 2016 „Reproducing Autonomy" (co-authored with Marina Vishmidt) came out, in 2017 „Entgrenzter Formalismus“ (Debordered Formalism) will be published, and the long-term exhibition and magazine project „Klassensprachen / Class Languages“ (with Manuela Ammer, Eva Birkenstock, Jenny Nachtigall, Stephanie Weber) will start with two group shows in Berlin and Düsseldorf and two magazine issues.
Der Vortrag findet in englischer Sprache statt.
Freitag, 27. Januar 2017
Jumana Manna
Vortrag
Jumana Manna: A Magical Substance Flows Into Me
Mittwoch, 1. Februar 2017, 19 Uhr, Aula
Jumana Manna is a visual artist, raised in Jerusalem and living in Berlin. She will present a body of work and inspirations, from her days as a student at the National Academy of Arts, Oslo, till the present. Her films address issues of subjectivity and desire, archaeology and notions of preservation, settler-colonialism and music, while her sculptures are wilder combinations of found materials, casts and cut outs that condense her extensive research into unexpected visceral forms.
Manna has exhibited at Sculpture Center, New York, Chisenhale Gallery, London, Beirut Art Center, Liverpool Biennial, and Kunsthalle Wein. Her films has been screened at M+, Hong Kong, 54th Viennale International Film Festival, 66th Berlinale Forum, Tate Modern, and IFFR Rotterdam. This year, Jumana will be part of the Nordic Pavilion at the Venice Biennale, and is working on new commissions for the HighLine in New York, and the 10th Satellite program at Jeu de Paume in Paris.
Der Vortrag findet in englischer Sprache statt.
Jumana Manna: A Magical Substance Flows Into Me
Mittwoch, 1. Februar 2017, 19 Uhr, Aula
Jumana Manna is a visual artist, raised in Jerusalem and living in Berlin. She will present a body of work and inspirations, from her days as a student at the National Academy of Arts, Oslo, till the present. Her films address issues of subjectivity and desire, archaeology and notions of preservation, settler-colonialism and music, while her sculptures are wilder combinations of found materials, casts and cut outs that condense her extensive research into unexpected visceral forms.
Manna has exhibited at Sculpture Center, New York, Chisenhale Gallery, London, Beirut Art Center, Liverpool Biennial, and Kunsthalle Wein. Her films has been screened at M+, Hong Kong, 54th Viennale International Film Festival, 66th Berlinale Forum, Tate Modern, and IFFR Rotterdam. This year, Jumana will be part of the Nordic Pavilion at the Venice Biennale, and is working on new commissions for the HighLine in New York, and the 10th Satellite program at Jeu de Paume in Paris.
Der Vortrag findet in englischer Sprache statt.
Sonntag, 22. Januar 2017
Judith Hopf: UP
Vortrag
Judith Hopf: UP
Dienstag, 24.01.2017, 19 Uhr, Aula
UP is the title of Judith Hopf´s latest exhibition project, realized at the Museion in Bolzano, Italy, autumn 2016. The lecture with the eponymous title will catch up with and debate her newest sculptural works and video films. She will also talk about her artistic and intellectual inspirations, which „keep on calling“ in her artistic praxis, expected or unexpected: Yesterday, Annette Wehrmann called at 5 a.m., Philip Guston 9.30 a.m., and recently, a conference call with Lucie Rie and Bernard Leach that took half a day…
Judith Hopf is an artist, based in Berlin, and works as a professor at Städelschule in Frankfurt am Main. Her next solo exhibitions will take place at the Hammer Museum, Los Angeles in 2017 and at KunstWerke Berlin in 2018.
Judith Hopf: UP
Dienstag, 24.01.2017, 19 Uhr, Aula
UP is the title of Judith Hopf´s latest exhibition project, realized at the Museion in Bolzano, Italy, autumn 2016. The lecture with the eponymous title will catch up with and debate her newest sculptural works and video films. She will also talk about her artistic and intellectual inspirations, which „keep on calling“ in her artistic praxis, expected or unexpected: Yesterday, Annette Wehrmann called at 5 a.m., Philip Guston 9.30 a.m., and recently, a conference call with Lucie Rie and Bernard Leach that took half a day…
Judith Hopf is an artist, based in Berlin, and works as a professor at Städelschule in Frankfurt am Main. Her next solo exhibitions will take place at the Hammer Museum, Los Angeles in 2017 and at KunstWerke Berlin in 2018.
Der Vortrag findet in englischer Sprache statt.
Donnerstag, 12. Januar 2017
John Roberts
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
John Roberts: After the Crisis of Value: Some Further Reflections of the Problems.
Deskilling and Reskilling in Contemporary Art
Mittwoch, 18. Januar 2017, 19 Uhr, Aula
The intellectual shift in the critique of political economy from questions of skill and deskilling within the framework of capitalist boom-and-bust, to more fundamental questions regarding time and value in relation to the growing crisis of labour defines our present period. And this is why the ‘end of work’ has become so crucial to recent radical political theory. Given the exponential rise of deskilling, the robotic displacement of living labour, and consequently, the detachment of unemployment and underemployment from so-called business cycles - the expansion of 'surplus populations' globally - the question of free labour has again become a political and emancipatory priority. (See for example the writings of André Gorz, End Notes, Nick Srnicek and Alex Williams, Peter Fleming).
Ringvorlesung Institut für Kunstkritik
John Roberts: After the Crisis of Value: Some Further Reflections of the Problems.
Deskilling and Reskilling in Contemporary Art
Mittwoch, 18. Januar 2017, 19 Uhr, Aula
The intellectual shift in the critique of political economy from questions of skill and deskilling within the framework of capitalist boom-and-bust, to more fundamental questions regarding time and value in relation to the growing crisis of labour defines our present period. And this is why the ‘end of work’ has become so crucial to recent radical political theory. Given the exponential rise of deskilling, the robotic displacement of living labour, and consequently, the detachment of unemployment and underemployment from so-called business cycles - the expansion of 'surplus populations' globally - the question of free labour has again become a political and emancipatory priority. (See for example the writings of André Gorz, End Notes, Nick Srnicek and Alex Williams, Peter Fleming).
Contemporary artists are no different from productive and nonproductive labourers in being subject to a process of deskilling, as a consequence of changes in the relations of production. But if art has lost some of its artisanal, productive allure over the last fifty years as a result of this, this does not mean that artists are objectively excluded from artistic production on the basis of these changes. Deskilling in art is never absolute, because artistic labour as free labour is detached from the discipline of labour-power. Art, therefore, still has an important part to play in defining what productive and non-productive labour might become after the 'end of work'.
In this lecture, John Roberts looks at how the future of the 'crisis of work‘ is currently intertwined with the emancipatory possibilities of artistic free labour.
In this lecture, John Roberts looks at how the future of the 'crisis of work‘ is currently intertwined with the emancipatory possibilities of artistic free labour.
John Roberts is Professor of Art and Aesthetics at the University of Wolverhampton. His books include The Art of Interruption: Realism, Photography and the Everyday, The Philistine Controversy (with Dave Beech), Philosophizing the Everyday, and The Necessity of Errors. He is also a contributor to Radical Philosophy, Oxford Art Journal, Historical Materialism, Third Text, and Cabinet magazine.
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Britta Peters & Kasper König: Skulptur Projekte 2017
Vortrag
Britta Peters & Kasper König: Skulptur Projekte 2017
Donnerstag, 9. Februar 2017, 19 Uhr, Aula
From 10 June to 1 October 2017, a total of some thirty new artistic productions will be on display all over the city space of Münster, covering the spectrum between sculpture and performative art in the urban space.
Britta Peters & Kasper König: Skulptur Projekte 2017
Donnerstag, 9. Februar 2017, 19 Uhr, Aula
From 10 June to 1 October 2017, a total of some thirty new artistic productions will be on display all over the city space of Münster, covering the spectrum between sculpture and performative art in the urban space.
The history of Skulptur Projekte Münster is closely linked with the idea of creating a public not just with but also for art. The exhibition was started in 1977 and takes place only every ten years. Its concept is very much based on the ideas of the participating artists and has remained essentially unchanged over the past decades: the curatorial team invites artists from all over the globe to explore the relationship between art, the public space, and the urban environment and develop new, site-specific works. Selected projects are realized in the urban setting and inscribe themselves in the structural, historical and societal contexts of the city. At the same time, the projects point beyond the specific place: themes related to the global present and reflections on contemporary concepts of sculpture are as much an integral part of the artistic inquiries as investigation into the basic parameters of publicness and the public realm.
Britta Peters and Kasper König will give a brief introduction into the history of the exhibition and discuss the plans for the next edition in 2017.
Der Vortrag findet in englischer Sprache statt.
Amalia Ulman: Privilege
Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik
Amalia Ulman: Privilege
Dienstag, 17. Januar 2017, 19 Uhr, Aula
AGENDA is Amalia Ulman’s latest staged lecture.
Comprised of powerpoint presentation, live performance and sound effects it exposes the final narrative of the online performance Privilege and it’s two subsequent shows Labour Dance (Arcadia_Missa, London) and Reputation (New Galerie, Paris).
In AGENDA Ulman uses poetic language to narrate self experimentation with female hormones and the effects of excess estrogen in a body trapped between the carpeted floors and ceiling tiles of her DTLA office - a tight structure of vertical structures, linearity and clocks. This dreamlike storyline later develops into a series of cons and scams, economies of appearances and the rise and fall of Bob The Pigeon, an ode to a working class hero which finishes with pessimistic spiritual notes that the author recognizes as selfish, recognizing the entitlement of her nihilism, escapism and ability to complain to carry its own privilege—a position of criticality not accessible to all.
Amalia Ulman is an airport-based artist with an office in Downtown LA. Born in Argentina and raised in Spain, she studied Fine Arts at Central Saint Martins in London. Her works are primarily voiced in the first person, often blurring the distinction between the artist and object of study. Ulman explores the relationship between consumerism and identity, class imitation and social deception, altruism and empathy.
Selected artworks include video essays like Annals of Private History (2015, Frieze Projects); and performances such as Excellences & Perfections archived by Rhizome the New Museum (New York) and exhibited at the Tate Modern and Whitechapel Gallery (London). Recent artworks include the performance Privilege and its three subsequent solo shows: Labour Dance (Arcadia_Missa, London), Reputation (New Galerie, Paris) and Dignity (James Fuentes, New York).
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Ringvorlesung Institut für Kunstkritik
Amalia Ulman: Privilege
Dienstag, 17. Januar 2017, 19 Uhr, Aula
Comprised of powerpoint presentation, live performance and sound effects it exposes the final narrative of the online performance Privilege and it’s two subsequent shows Labour Dance (Arcadia_Missa, London) and Reputation (New Galerie, Paris).
In AGENDA Ulman uses poetic language to narrate self experimentation with female hormones and the effects of excess estrogen in a body trapped between the carpeted floors and ceiling tiles of her DTLA office - a tight structure of vertical structures, linearity and clocks. This dreamlike storyline later develops into a series of cons and scams, economies of appearances and the rise and fall of Bob The Pigeon, an ode to a working class hero which finishes with pessimistic spiritual notes that the author recognizes as selfish, recognizing the entitlement of her nihilism, escapism and ability to complain to carry its own privilege—a position of criticality not accessible to all.
Amalia Ulman is an airport-based artist with an office in Downtown LA. Born in Argentina and raised in Spain, she studied Fine Arts at Central Saint Martins in London. Her works are primarily voiced in the first person, often blurring the distinction between the artist and object of study. Ulman explores the relationship between consumerism and identity, class imitation and social deception, altruism and empathy.
Selected artworks include video essays like Annals of Private History (2015, Frieze Projects); and performances such as Excellences & Perfections archived by Rhizome the New Museum (New York) and exhibited at the Tate Modern and Whitechapel Gallery (London). Recent artworks include the performance Privilege and its three subsequent solo shows: Labour Dance (Arcadia_Missa, London), Reputation (New Galerie, Paris) and Dignity (James Fuentes, New York).
Der Vortrag findet in englischer Sprache statt.
Ringvorlesung Program:
Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)
Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)
This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?
It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?
Donnerstag, 5. Januar 2017
Birgit Megerle: Transparented
Vortrag
Birgit Megerle: Transparented
Donnerstag, 12. Januar 2017, 19 Uhr, Aula
Birgit Megerle is a German painter. She will talk about recent exhibitions and the performance-group Kontakt Sappho, an ongoing project operative since 2012, which consists of the artists Sonja Cvitkovic, Michaela Meise and Birgit Megerle herself.
She will also talk about her involvement with the Akademie Isotr̃op; an independent art school, that was founded by a collective of Hamburg artists, authors, and musicians in 1996 and existed until 2000. The academy was conceived as an experimental learning environment based on a democratic formulation of classes, student-teacher relationships, and exhibitions.
Megerle (*1975 in Geisingen) lives and works in Berlin. Her next solo-exhibition will be at Kunsthaus Glarus, in Switzerland May 2017.
Der Vortrag findet in englischer Sprache statt.
Birgit Megerle: Transparented
Donnerstag, 12. Januar 2017, 19 Uhr, Aula
Birgit Megerle is a German painter. She will talk about recent exhibitions and the performance-group Kontakt Sappho, an ongoing project operative since 2012, which consists of the artists Sonja Cvitkovic, Michaela Meise and Birgit Megerle herself.
She will also talk about her involvement with the Akademie Isotr̃op; an independent art school, that was founded by a collective of Hamburg artists, authors, and musicians in 1996 and existed until 2000. The academy was conceived as an experimental learning environment based on a democratic formulation of classes, student-teacher relationships, and exhibitions.
Megerle (*1975 in Geisingen) lives and works in Berlin. Her next solo-exhibition will be at Kunsthaus Glarus, in Switzerland May 2017.
Der Vortrag findet in englischer Sprache statt.
Montag, 2. Januar 2017
Petra Van Brabandt: To Heat by Melting
Vortrag
Petra Van Brabandt: To Heat by Melting
Mittwoch, 11. Januar 2017, 19 Uhr, Aula
What have Cabanel’s Birth of Venus, Klein’s Anthropometry, or Kusama’s Self-Obliteration in common? What relates Picasso’s Woman Pissing to Marlene Dumas’ watercolours and Tejal Shah’s Between the Waves? All these art works are deploying a wet aesthetics. This refers to an aesthetic experience that is realised by the perceptual interaction with wetness. What is remarkable of wet aesthetics, is that it affords a strong erotic or sexual resonance. This is not surprising; a wet aesthetics produces specific visceral effects in the viewer’s body.
Queer pornographic art has radicalized wet aesthetics in promising ways; it realises its visceral, motoric, and tactile potential in a liquifying, emancipatory, and sex-positive project. The viewer experiences queer pornography’s wet aesthetics as heating by melting. It radically decenters our subject/object experience and our fixed sexual identities, orientations, fetishes, and bodies. We are seduced into a sex-positive re-appropriation of bodily fluids, and our experience of desire and pleasure is reconstructed as dispossession, abundance, and surrender.
Petra van Brabandt is a Belgian philosopher of ethics and a porno specialist. She currently teaches at the St Lucas School of Arts in Antwerp and develops for her lecture an account on the aesthetic quality of fluids in pornographic art.
Der Vortrag findet in englischer Sprache statt.
Petra Van Brabandt: To Heat by Melting
Mittwoch, 11. Januar 2017, 19 Uhr, Aula
What have Cabanel’s Birth of Venus, Klein’s Anthropometry, or Kusama’s Self-Obliteration in common? What relates Picasso’s Woman Pissing to Marlene Dumas’ watercolours and Tejal Shah’s Between the Waves? All these art works are deploying a wet aesthetics. This refers to an aesthetic experience that is realised by the perceptual interaction with wetness. What is remarkable of wet aesthetics, is that it affords a strong erotic or sexual resonance. This is not surprising; a wet aesthetics produces specific visceral effects in the viewer’s body.
Queer pornographic art has radicalized wet aesthetics in promising ways; it realises its visceral, motoric, and tactile potential in a liquifying, emancipatory, and sex-positive project. The viewer experiences queer pornography’s wet aesthetics as heating by melting. It radically decenters our subject/object experience and our fixed sexual identities, orientations, fetishes, and bodies. We are seduced into a sex-positive re-appropriation of bodily fluids, and our experience of desire and pleasure is reconstructed as dispossession, abundance, and surrender.
Petra van Brabandt is a Belgian philosopher of ethics and a porno specialist. She currently teaches at the St Lucas School of Arts in Antwerp and develops for her lecture an account on the aesthetic quality of fluids in pornographic art.
Der Vortrag findet in englischer Sprache statt.
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