1. 2013_04 Beyond the Canon. The Paradoxes of Conceptual art


    from Generali Foundation Added 195 1 0

    Friday, March 22, 2012, 4–8 p.m. Symposium (Englisch) Based on the exhibition "Amazing! Clever! Linguistic! An Adventure in Conceptual Art", the symposium raises and discusses questions around curating and exhibiting Conceptual art, examining its definitions, canonizations, and reterritorializations, its paradoxes and its aesthetic. The curator Guillaume Désanges uses his current show as an example to explain what “conceptual” curating can mean today; Camiel van Winkel talks about the paradoxes—the successes and failures—of Conceptual art and about its afterlife in contemporary art. Luke Skrebowski, meanwhile, proposes that, as part of the historicization of Conceptual art, we reassess the status of aesthetics. And Sabeth Buchmann discusses the exhibition practices that were established in the context of the historic Conceptual art, focusing on presentation and reception as well as on new media and publication formats and their consequences for the emergence of a new type of curator. 4 p.m. Welcome: Sabine Folie, Director and Curator, Generali Foundation Introduction: Christian Höller 4:15 p.m. Guillaume Désanges Curating Conceptual Art: The “Deskilled” Hypothesis For a curator, each exhibition may be a new situation, a way to challenge the obvious and find a form that syncopates the rhythm with its topic. In the case of the show Amazing! Clever! Linguistic! An Adventure in Conceptual Art, it was about wondering what it might mean to “curate conceptually,” more in spirit than in form. This involved working in the register of “deskilling,” opposing academic discipline with a certain kind of amateurism. Deskilled curating meant avoiding reflexes and the temptations of virtuosity, with the goal of reconnecting with the spirit of freedom and risk-taking that animated the pioneers of Conceptual art. Taking other examples, I will try to critically go back to this attempt to decode curatorial conventions while accepting the inevitability of their immediate recoding. A deterritorialization prompting a precarious, plural, uncomfortable reterritorialization, with the aim of fighting against indifference. 5 p.m. Camiel van Winkel The Paradoxes of Conceptual Art The talk will deal with the paradoxes of Conceptual art (both a failure and a success), the relationships between Conceptual art and contemporary art, and the consequences this has for the position of the curator today. Break 6 p.m. Luke Skrebowski Conceptual Aesthetics Conceptual art is widely noted for its project to produce an anti-aesthetic art, seeking to break what Joseph Kosuth described as “the still prevalent belief that there is a conceptual connection between art and aesthetics.” Conceptual art is equally well known for the failure of this project, for its ultimate demonstration that art and aesthetics cannot be completely disambiguated. Yet the ineliminability of the aesthetic in visual art has become in certain strands of recent critical, curatorial, and artistic practice an occasion for a fetishizing focus on the “look” of Conceptual art, a “conceptual aesthetics” in the most impoverished critical sense of the term. The paper argues against this development, but for a reconsideration of the place of the aesthetic in the historicization of Conceptual art. It does so by means of a consideration of an alternative, non-“Analytic,” genealogy of the practice that addresses post-Kantian aesthetics. 6:45 p.m. Sabeth Buchmann Curatorial Media With a view to the exhibition practices established in the context of the historic Conceptual art, the talk will discuss how the focus on presentation and reception or on new media and publication formats affected the emergence of a novel type of curator. Taking up the concept of the “curatorial system” as used by Magda Tyzlik-Carver and others, we may describe Conceptual art as a field that ideally illustrates a development in which the curatorial expands beyond the conception and arrangement of exhibitions into areas of the production of knowledge and signification as well as into social formations and cultural technologies. The lecture will focus on the question of the transformations of the spatial and temporal structures that organize exhibitions of Conceptual art in a wide sense. 7:30–8:00 p.m. Panel discussion with all participants Moderation: Christian Höller

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    • 2013_12 Conceptual art is a bunk...It’s a felt, it’s feeling, it’s felt (Robert Smithson)


      from Generali Foundation Added 97 2 0

      12. Dezember 2013, 17–20 Uhr (Englisch) Symposium Das Symposium greift Themen und Motive der Ausstellung Against Method auf, mit deren Titel sich die Kuratorin Gertrud Sandqvist auf Paul Feyerabends Buch Wider den Methodenzwang. Skizze einer anarchischen Erkenntnistheorie von 1983 (Orig.1975) beruft. Darin schreibt der Philosoph gegen die rationalistische Methodologie einer auf universelle Gültigkeit zielenden Wissenschaftstheorie an und zieht Erkenntnisgewinn durch exakte und systematische Methoden in Zweifel. Stattdessen schlägt er „irrationale Mittel“ als Grundlage experimenteller Forschung vor und ermuntert Wissenschaftler_innen künstlerischen Vorgehensweisen zu folgen. Feyerabends Kritik traf mit dem Höhepunkt der Konzeptkunst zusammen, als Künstler_innen ihrerseits Strukturalismus und rationalistische, wissenschaftliche Methoden in ihre Werke zu integrieren suchten. Die Beiträge des Symposiums greifen die Wechselbeziehungen von Strukturalismus und Konzeptkunst auf und gehen näher auf die Frage ein, inwiefern die Konzeptkunst mit der Aneignung strukturalistischer Theorien an die Grenzen ihrer Rationalisierungsversuche gestoßen ist. In ihrem Vortrag untersucht Eve Meltzer die Reintegration des menschlichen Subjekts in konzeptuelle Arbeiten und wie Affekt und System einander bedingen und ergänzen; der Künstler Joachim Koester dagegen widmet sich Sol LeWitts Analyse des Nichtrationalen in dessen Schriften und minimalistischen Objekten. In ihrer Lecture-performance initiiert Elisabeth von Samsonow gemeinsam mit der Künstlerin Ida-Marie Corell einen kritischen Dialog zu Methodenfrage und Wissensproduktion. Eve Meltzer Joachim Koester Elisabeth von Samsonow Abschließende Diskussion mit allen Teilnehmer_innen (Englisch) Moderation: Gertrud Sandqvist, Kuratorin

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      • 2013_06 The Content of Form. A Reading by Ian Wallace


        from Generali Foundation Added 21 0 0

        May 17, 2013, 7 p.m. (English) In the architecture of the installation, which I will take to be the formal framework of the exhibition as a meaningful statement, I will consider the ambient bodily movements of a spectator in the exhibition space. I will draw attention to the indeterminate (yet guided) flow of the intellectual attention of the spectator (of the image-reader in space) as the completion of intentions of the artist (the initiator) and the collector (or curator) who re-presents these works for contemplation. This spatial movement involves proximity and distance, coming close to the object and drawing away to contemplate the installation as an architectural whole. This “entanglement” of producer, presenter, and spectator comprises the “knot” of signification. On occasion of the exhibition "The Content of Form"

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        • Dieter Roth: Die Splittersonate (Jürg Henneberger, Klavier)


          from Musikforschung Basel Added 84 0 0

          30.09.2014, Vera Oeri-Bibliothek der Musik-Akademie Basel Anlässlich der Eröffnung der Ausstellung "Kann jemand hier Klavier spielen?" Musik und andere Objekte von Dieter Roth Ⓒ Hochschule für Musik Basel / Fachhochschule Nordwestschweiz, Musik-Akademie Basel

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          • 2013_01 Signs and Wonders. Theory of Modern Art/Theory of Damned Art. A lecture-performance by Guillaume Désanges


            from Generali Foundation Added 198 4 0

            January 18, 2013, 7 p.m. A lecture-performance by Guillaume Désanges, assisted by Alexandra Delage "Signs and Wonders" is a new work following two recent experimental lectures developed by Guillaume Désanges: A History of Performance in 20 Minutes and Vox Artisti. This new project proposes a subjective study of some major figures of modern art, as well as Minimal and Conceptual art, in the form of a mystical investigation. The work will question the links between forms and signs, art and kaballah, nature and culture, and coincidences and symbols. The lecture promises to shed light on how certain elementary geometric patterns related to rational and mathematical models have fed into twentieth-century avant-gardes and modernity in general. Désanges suggests that nowadays these patterns remain objects of representation and of knowledge but also of cult and worship. Considering artists from Marcel Duchamp and Kazimir Malevich to Sol LeWitt, Donald Judd, Bruce Nauman, and Dan Graham, the lecture investigates, in a spirit of adventure, how repetitive signs and their archaic symbolism might open up a secret history of modernity, a hidden language, a code, or a mystical tradition, with initiates, filiations, occult rituals, and heresies. Speculation based on a game of coincidences, the lecture is entirely illustrated through a shadow play, realized onstage without virtuosity, yet with a desire to demonstrate and work with shapes, light, and darkness. An opportunity to measure the illusionistic and magical potential of practices that we sometimes too easily pigeonhole in the category of rationalism. What you see is not always what you see. "Signs and Wonders" is coproduced by Halles de Schaerbeek (Bruxelles), Centre Pompidou (Paris), and FRAC Lorraine (Metz). It was presented at Tate Modern (London) in February 2009 In occasion of the exhibition "Amazing, Clever, Linguistic! An Adventure in Conceptual Art!"

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            • Ausstellungseröffnung Christa von Seckendorff


              from Klaus Stevens Added 101 0 0

              Eröffnung der Ausstellung "Fotografische Arbeiten, Collagen und Objekte" in der Städtischen Galerie im Rathaus Büttgen. Begrüßung Hanno Wilsch, Einführung Frank Schablewski, Live Sound Michael Scheibenreiter. 9. September 2011

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              • Baywatch Düsseldorf 2014


                from Atelier Lanz Added 254 4 0

                The video documents the exhibition project BAYWATCH in the Reisholz harbour on the Rhine in Düsseldorf, Germany. Art students from Karlsruhe (class of Prof. Leni Hoffmann) and from Saarbrücken (class of Prof. Eric Lanz) show and talk about their site specific work. © Hochschule der Bildenden Künste Saar 2013

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                • hausderkunst / marlene dumas / vortrag


                  from hausderkunst Added 1,186 4 0

                  vortrag von marlene dumas im rahmen der ausstellung "tronies. marlene dumas und die alten meister" am 04 feb 11 im hausderkunst

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                  • Analog Mensch Digital | Documentary


                    from Shutterstock Added 678 17 0

                    English subtitle available. Activate with CC button. - - - The Analog Human Digital exhibition by Shutterstock is the result of a collaboration with 10 trailblazing design studios in Germany: Deutsche & Japaner, Elastique., Eps51, Fons Hickmann, m23, Hort, Johannes von Gross, Studio Nand, Quintessenz, Swipe, Universal Interaction. German designers present visions of human existence in digital worlds. What does our tomorrow feel like? What is already possible? What should technology do for us? Posters, happenings, interviews and installations are part of the exhibition. - - - To watch the individual studio interviews, go to the channel page: https://vimeo.com/channels/analogmenschdigital

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                    • Depot Basel - Exhibition 19 – CHANGES – CHANCES


                      from Depot Basel Added 258 0 0

                      On 4 September five Swiss designers from different generations with varying professional backgrounds and experiences met to to exchange their experiences with work, production and design in Switzerland. Hosted by Claudia Mareis interior and product designer and author Verena Huber, architect, lecturer and author Claude Lichtenstein, product designer and lecturer Jörg Boner and product designers Stefan Rechsteiner and Meret Probst exchanged their experiences and expectations. In the exhibition that opens 22 November 2013 Depot Basel presents the process and the results of the interview, launches a publication including excerpts from the discussion and additional written and pictorial commentaries by various authors. Additionally there will be work (photographs) of Swiss designers displayed, which deal with the question of subjective and/or objective perception of the value of objects. More information: depotbasel.ch

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