Handwerker im klassischen Athen: Integration und Ausgrenzung (German Edition)
Anspruchsvoller Journalismus, Fotografie und Gestaltung werden durch ein kleines Team realisiert. Lecture-Performance Criticism of Measure: Aesthetics of Differends, section 1, detail, photo credit: Neither philosophy, nor art, the Aesthetics of Differends looks to corrupt classical formats by the experimental use of theory. This reading in Zurich will be based on the relationship between liberalism, nudity, pleasure and language to propose a criticism of measure: Ausstellung Stray Topology - - -.
The works have been produced in response to an open ended dialogue on the perception of place and its representations. The show includes a screening and discussion as part of Theory Tuesdays. Taking the position that place is both exactly where it is and a digression from itself, the project examines the encounter with place through perspectives on urbanism, architecture and literature. These vantage points animate our relationship to place, suggesting a meshing of subjective experience with the processes of recollection.
The project considers the politics of place in relation to the selection, construction and mediation of the photographic image. Saturdays, 12am - 5pm or by appointment. Due to the recent events in Egypt and especially its capitol, their initial date of arrival on the 1st of February was postponed for a month. Being stunned by the political tidal wave flooding the country, the resignation of Hosni Mubarak and the phenomenon of having a curfew — something they had only heard of in World War II stories — the designers found themselves gazing from the sidelines, not knowing how exactly to react to all of this.
Success and Uncertainty at San Seriffe in W, Amsterdam On Wednesday June 1st a lightbox was hung outside the Townhouse Gallery that announced the start of the project and showcased the first of twenty-one posters. During the month of June , each day a new poster was presented, generating a growing exhibition.
The content provided by both therefore created a clash of information that will influence the way one reads a poster. It was this constant dialogue between the designers that lead to "Success and Uncertainty. The film excerpts will be followed by a discussion on the role of ruin aesthetics in relation to the sites and non-places of urban modernity. Mary Maclean and students in the project will hold a critical discussion of the work in the exhibition. Robinson in Ruins Production year: Pursue Other Avenues is an experiment which takes the form of an open and public "exhibition making workshop".
By showing the negotiation, research, and dialogue that typically finishes before the vernissage this experiment aims to give participants an understanding of artists and their work, greater to that of seeing a mere static display of material products. This experiment views all participants as producers, audience, critics, and curators, and with the aid of Isabelle Krieg, Clare Kenny, and Flurin Bisig everyone present will contribute to the development of the exhibition process.
This experiment will display the traditionally private stages of an exhibition—doing away with the traditionally public stage entirely. Contrary to most exhibitions, Pursue Other Avenues will not be pure documentation of prior actions, discussions, or collaborations, but the exhibition will be the discourse and connections as they are created. Monday May 28, 6pm-9pm Artists talks and open discussions. Tuesday May 29, 6pm-9pm part one- Connect and contrast the artists work. If new works were created what would they look like? Wednesday May 30, 6pm-9pm part one — Discuss space and the effect that different spaces would have on the artist and their works.
Thursday May 31, 6pm-? Alphonse Allais, Album Primo-Avrilesque, David will introduce some historical artists' publications and trace one origin story for this genre of experimental books. It won't be a full history - maybe a one hour chapter from a 10 part drama mini-series - but there will be a lot of action and adventure.
In the mix will be content from three recent shows that he has assembled from the library collection at MoMA - Access to Tools: For a long time, Letterism — established by Isidore Isou — has remained the unknown avant-garde of European Post-war art. The display and accompanying lectures will ask the speculative, hypothetical question: Both will give a lecture each 1h about the following topics: Metagraphics or post-writing , invented by Isodore Isou in , and four years later renamed hypergraphics or super-writing , aimed both at subverting the novel as it was known at the time, and at extending Letterist painting to the totality of characters of all writing systems in their existing or invented transcriptions, seen through their ideographic, lexical and alphabetic categories.
Isidore Isou, Les journaux des dieux Opening hours: Nach seinem Auftritt als One-Man-Band an der 3. Musik der akustischen Art mit Folk-Anleihen, der eine sympathische Schrulligkeit eigen ist. Live kommt das Album nun in Trio-Formation zur Umsetzung. Als leises, kammermusikalisches Pop-Konzert. Juni bei spezialmaterial. Exit Through the Gift Shop follows an eccentric shop-keeper turned amateur film-maker as he attempts to capture many of the world's most infamous vandals on camera, only to have a British stencil artist named Banksy turn the camcorder back on its owner with wildly unexpected results.
Nun ist es geschafft. Lesung und zwischen dazwischen und dazwischen und Photograph courtesy Jim Wood James Langdon will present an ongoing research project on the subject of the Construction School, an experimental design programme in Bristol, England to The presentation will include documentary audio and visual material to give an account of the nature and activities of the school.
The two guests will each make a short presentation of their own practice, followed by a conversation covering various subjects, including visual research methodologies, the ethics of 'activating' archival materials in artistic production, and the complexities of handling partial or subjective narratives.
The play is deeply informed by Potter's experiences at Bristol and his reflections on the international student movement of What's in a band? Can anyone be a member? Well actually no, not really. If they come with the right attitude and make the existing members of the band feel good, then yes, otherwise no. How do the band members decide if the new person makes them feel good? Because the band members know each other, their likes and dislikes, and because there's intimacy and trust between them.
Maybe that's what makes a band? During this time they will make an album. Their stay will culminate in a performance to mark the release of the album on Friday the 6th of July. For this event they will be joined by the artist and musician Sara Nunes Fenandes who will play part of the set she toured Israel with earlier in the year. To complement the project there will be a number of talks and screenings. Her talk will include rarely seen archive footage, not to be missed! Doors open from 8pm. Specially made food courtsey chef de partie Moniker Stalder, all welcome!
Organized by Sam Porritt and Stefan Wagner. Switzerland's Performance Network" by Rayelle Niemann. Is everything going to be alright? The galleries that participate have to be younger than 5 years old and the artists they show, younger than The screening will be followed by a discussion of the yearly ritual of art fairs in Basel and how they influence the rest of the year.
Rebel L Rebel L vs. One of the works featured in the exhibition is an edition of Bulletins of the Serving Library by Dexter Sinister — i. The publication contains texts dealing with the materiality of language and its letters — as do the installations, sculptures, prints in the show.
But how effective and interesting were the exhibitions themselves?
Olga Stefan will be discussing the artwork and curatorial approach at two of this year's major international exhibitions, The Paris Triennale and Manifesta. Through slide show presentations of both shows, Olga will offer her take on what worked and what didn't. Ricardo Rangel is regarded as the doyen of Mozambican photography and is one of the leading photo reporters in Africa in the second half of the 20th century.
He belongs to a tradition of documentary photographery which is close to the approach of the Magnum photographers. He always had any critical attitude towards the Portuguese colonial regime, and this led to conflicts with the censorship authorities and to emprisonment. After independence in he made a major contribution to the construction of the new socialist state, while maintaining his critical distance to the establishment. The film shows sequences from with Ricardo Rangel at the time of the opening of the exhibition Iluminando Vidas.
Pomar is a respected Portuguese art critic and journalist who lives in Lisbon. Read more about Ricardo Rangel and watch trailer. With a short introduction by Bruno Z'Graggen. Kunst und Person fliessen auf einmalige Weise zusammen, diese wechselseitigen Bewegungen nimmt der Film auf. Post-Fordism, Percarity and the Labor of Art".
Below you will find the exact titles and if you follow the link, the corresponding. The result of globalisation is that the romantic idea of cultural origins or local roots has more or less lost every meaning. It is in that sense that locality becomes interesting: Belluard Bollwerk International is an arts festival that since takes place every year at the beginning of the summer in Fribourg.
It has a history of having its own vision on actual art and society and producing and showing work of local and international artists in a convivial context. Hard to pin down the disciplines we are producing or presenting. Word says we are 'in between'. Which is at the same time complex, challenging and exciting.
Works go from more sort of 'classical' formats like theatre, performance, dance, concerts, to more 'unconventional' projects like acupuncture of a building, a human library or artists that are digging a hole in the middle of the city during 10 days. The tone of representation varies greatly. Some deliver their message or insight in glaringly humorous ways, whilst others do so more soberly with a reporting approach.
Who are these buffoons who have in good humor mocked art movements? Who are the heretics that have astutely interpreted and presented the sociological workings of the art scene as well as the more distasteful conducts of behavior within the art system? They may be overtly cynical and yes, some of them are perhaps a bit too much, but who gives a hoot—they're hilarious! There are those who have crassly blown out idealism's pale fire with one cheeky breath whilst others have nimbly created art-world narratives, grabbing your hand and dragging you somewhere unexpected.
The spectrum of styles presented will include parody, satire, irony, cynicism, invective, wit and spoofs. The presentation will be held in English. To celebrate this unexpected longevity of the discussion group, Corner College will be hosting a special event. The discussion table and chairs will be folded up and replaced with a ping pong table. A "Theory Tuesdays " publication will also be released, highlighting the occasional scan blooper found in the Theory Tuesdays.
As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form?
These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition. This book - organized by Veronika Spierenbrg Artist Veronika Spierenburg will talk with people who have an interesting connection with the medium of books. Dekonstruktion eines Vierecks, im Viereck.
Das neue Heft Workshop Heinz Emmenegger: Handle with care mehr oder weniger Vortrag Chris Jaeger Brown: Rhythmischer Unfug drum solo C.
- Belle-grand-mère (Littérature Française) (French Edition).
- The Earth’s Prevailing Wind Belts (Readers Advance Science Readers).
- The Mack Mentality.
Dreizeilern Workshop Philipp Messner: Practioners in this field have come to understand the conversations about conceptual writing as being unresolved somewhere between poetics and aesthetics via new media theory. Any conversations about how these media also effect distribution and reading experiences will be a very welcome bonus! Anschliessend gibt es Eintopf und vielleicht einen Dessert aus Tillessens Geheimrezeptbuch. In fact the book is not an academic but personal compilation by photographer Peter Tillessen.
The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich. The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer. The number 40 is in this compilation no accident: Tillessen took the pictures on his —rainy— fortieth birthday for one of his best friends to pay off his debts from a bet — as he wasn't a father of a big family like his father at the age of The design of the book in the book accentuates the biographical fission within the big context of the atomic age: At the end it's all about evolution.
Whether the personal is political or not, Tillessen drew 18 sketches in his Moleskine, which are all represented in this black and white Xerox-printed booklet. The publication is housed in a white paper bag with a self-made potato stamping by the artist and his daughter. Dictators is the second publication in his series at Kodoji Press.
Ausstellung Aus der unmittelbaren Unwirklichkeit 6. Die Buchvernissage findet in Zusammenarbeit mit dem Kunstmuseum Thun statt. Vorkommnisse aus der unmittelbaren Unwirklichkeit; Ausstellung offen ab If you would like to suggest a specific text or film for a Theory Tuesdays winter session, please attend the planning round with your ideas. We will then, collectively, fill in a calendar with everyone's suggestions and begin winter sessions starting on December 4th.
Below is a list of requirements to keep in mind as you prepare your suggestions. The Boy Mechanic, Vol. Starting in , during the last Friday of each month at Corner College, a volunteer will teach or workshop a practical skill to the group.
Instead of discussion about a specific text or film, we will have a hands on experience of learning something practical. This can take the form of many skills including how to play the Swiss card game "Jassen", sharpen a knife or effectively change a flat bike tire. We look forward to learning something practical from you in !
Please attend the Theory Tuesdays winter planning session on November 20th with your ideas or send suggestions to theorytuesdays gmail. The difficult and complex situation in Syria leads to a fragmentation of society into various isolated parts. Some of these parts seem to be in line with each other better than others. Sometimes it appears to be a unified. And then again it falls to pieces. Syria as concept has become a synonym for itself and all the questions that arise when the line is crossed: In order to understand the development in Syria we take a closer look at the Egyptian revolution and the struggle for information, media coverage and connectivity.
Battuta, Muhammed Radwan is an engineer, activist and social media entrepreneur from Cairo. He visualises and analyses the complexity and multiple layers of the Egyptian revolution, and its use of language on the basis of flyers, stickers, etc. Also, besides Facebook and Twitter, other transnational social media platforms with a simplified operation mode, such as Bambuser or Ushahidi, are used to promote identities and opinions.
Battuta draws on his own experiences from the streets, digital spaces and the financial market. He links this to the opportunities of social media tools in times of transition and their field of application — a cultural landscape oscillating between representation and archive; one of his theses states that the speed of technical development is overtaking history. Rayelle Niemann the people - revolution of the people power to the people Die schwierige und komplexe Situation in Syrien produziert viele einzelne, isolierte Teile.
Manche Teile scheinen besser zueinander zu passen als andere. Manchmal erscheint das Bild klar. Die Veranstaltung wird am November im Cabaret Voltaire. The presentation will be continued on November 25th at Cabaret Voltaire. This is the message distilled from these portraits of 30 reused industrial areas. In a wide variety of places all round the globe, reinterpretations of the legacy of the industrial age are releasing tremendous potential energy and creativity — in the USA, Russia, Brazil and China just as much as in Europe. The book examines the background, protagonists and concepts involved and shows various strategies for reuse.
In essays and interviews, specialists from both the theoretical and practical fields explain their findings and experiences. Joost Grootens gta Verlag. In in mid to late 60's Sharits made a number of "flicker" films which will be the focus of the evening. In this temporal mandala, blank color frequencies space out and optically feed into black and white images of one love-making gesture which is seen simultaneously from both sides of its space and both ends of its time.
Color structure is linear-directional but implies a largely infinite cycle; light-energy and image frequencies induce rhythms related to the psychophysical experience of the creative act of cunnilingus. This interview includes excerpts of Paul Sharits films. G 12 mins 'I am not at all interested in the mystical symbolism of Buddhism, only in its strong, intuitively developed imagistic power.
In a sense, I am more interested in the mantra because unlike the mandala and yantra forms which are full of such symbols, the mantra is often nearly pure nonsense — yet it has intense potency psychologically, aesthetically and physiologically. Sword swallowers, lions, contortionists and acrobats made of wire were manipulated by the artist, re-creating delicate little circus acts. The stage was designed to fit inside suitcases to be portable.
Calder used to give regular performances of his circus in Paris and New York through the mid-thirties. The live shows, provided with an intermission, lasted up to two hours. The pages book is the final result of a longterm research project, which was presented as an multi-media exhibition at the OK Centrum for Contemporary Art which commissioned the project in Linz, Austria in early The Indian Ocean Tsunami was one of the worst natural catastrophes in history. While international attention has faded, post-tsunami challenges continue to have an impact on affected communities.
Six years later and just weeks before Fukushima, Christoph Draeger and Heidrun Holzfeind looked at what has been achieved, what went wrong and what challenges remain. Using video and photography, they documented the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel.
They also established a collection of footage of the disaster and the reconstruction efforts. Additionally, Corner College will be exhibiting two related slide projections in the windows.
Download Der Wandel der Jenseitsvorstellung im Vergleich zwischen by Nicola Kiermeier PDF
The site-specific installations will be running over Christmas time including December 26, the 8th anniversary of the Indian Ocean Boxing Day tsunami. Together the texts form a rhizome as a map of shared knowledge between practice and theory, rather than contrasting theses to be juxtaposed, and build on the intersection between two major discourses linked to economic theories: Marx's critique of political economy and Freud's psychoanalysis.
During this first session we will examine Christian Marazzi and his scientific analyses of capital and it's affects. Christian Marazzi "Starting from Work," in id. During one Friday evening each month at Corner College, a volunteer will workshop a practical skill. During this Practical Fridays session, Julia Schwartz will conduct a two-hour workshop where she will teach the basic physical principles of spoken voice use.
She will get people's bodies active in order to be able to apply the voice, and then get practical and use it. Everyone will benefit from hearing the others' spoken work. The workshop is free and will be held in English. Please bring your bring your house shoes or thick socks with you. During this second session, we will examine the final three texts written in different time periods, from until Bifo - Franco Berardi "No. One reason is that complex and thought-provoking art is having a harder time than ever, not only to come about but also to circulate beyond an already converted audience.
Another reason is that entertaining and easily digestible art is becoming more and more prevalent - in the public eye, almost synonymous with "art" itself. Both developments are connected with new power dynamics in the wake globalization, neoliberal policies of deregulation and financialization, and the boom of the commercial art market.
In this TT-session Stefan Wagner suggests the essay "tainted love: The text out of "contemporary art and its commercial markets We will discuss the text and see if we are agreeing with that concept. Sie geben einen Einblick in ihre Auseinandersetzung mit der Erinnerung oder der produzierten Vergangenheit aus intimer Perspektive. Drawing the attention toward the multiplicity of processes and things generative of situations of critique, Latour proposes to move from "matters of fact" to "matters of concern" and from "Realpolitik" to "Dingpolitik. This session has been organized by Christoph Brunner and will be held in English.
The movement allows the common to flow through dispersal, reaching into the solitude of each protester. Each one recognizes her situation in that of the others; affective resonance is transmuted to a point of fusion. Repression can only break up linear collectivities; here, at every turn, at every corner, the common returns in a swarm. The protests tie together not only problems of a culture of indebted men but also environmental and social issues throughout all strata of society.
Insurgence is an expression, a movement of thought becoming a movement of felt sensation. Was ist ein Denkmal? Wird das individuelle Erinnern wichtiger? Sowohl das Denkmal im engeren Sinn wie auch das Baudenkmal dienen der Erinnerung. Ersteres wurde aber genau zu diesem Zweck errichtet, letzterem werde dieser Zweck erst im Laufe der Zeit auferlegt. War das unter Denkmalschutz stehende Haus in den 60er und 70er Jahren ein progressives Instrument zur Steuerung der Stadtentwicklung, wird es heute mehr und mehr zum Verkaufsargument. Erinnerungskultur hat Hochkonjunktur und so muss man sich fragen, welche Formen von Denkmalschutz in Zukunft sinnvoll sind.
Vielleicht sollte neu, nebst Industrie- oder Landwirtschaftszonen, auch Kulturzonen geschaffen werden. Das Denkmal als politisches Instrument untersteht dem Wandel der gesellschaftlichen Gegebenheiten. Was passiert mit leeren Denkmalsockeln? Diesen und anderen Fragen versuchen wir mit Hilfe von Experten aus den Bereichen Kunst, Wissenschaft und der Denkmalpflege nachzugehen. Georg Kreis Historiker Im Vordergrund des Workshops stehen die Fragen: Wie bewerten, benennen wir das, was wir sehen?
Do you know the origin of Coca-Cola? Or the secret powers of Swiss triangular milk chocolate Toblerone? And what has sanitary porcelain to do with all this? There is only one way to find out. Wir verlosen am Abend einige Ausgaben der Special Edition. Buchvernissage also nicht verpassen! Manon de Boer By now, art is probably seen more on Facebook walls than real-life ones. Why is it that the growing importance of the digital does not have a similar impact on the contents of works of art, as it has on the way they are presented?
After a short introduction and a brief summary of the text and some responses to it , the discussion could evolve around the following questions: Why do we separate media arts and digital arts from more conventional media, even exhibiting them in specialized institutions? Will art eventually be left behind by the fast developments within the digital realm? Or can it rather be a tool to counter the predominance of the digital? This session has been proposed by Daniel Morgenthaler and will be held in English.
Dies zeigen die historischen Herrscher eindrucksvoll. Kollision Julia Marti , Milva Stutz. Um es gleich vorwegzunehmen: Das Heft zeigt Arbeiten von: Kollision 19 Uhr Vortrag: Seit den er Jahren performt er seine Gedichte zusammen mit Musikern in wechselnder Besetzung, welche vorwiegend aus dem Jazz Bereich stammen. Da wartete niemand geringerer als Charles Mingus, der die Studenten auf seinem Kontrabass begleitete. Eine musikalische, stark rhythmisierte Art des Rezitierens, welche zwischen Singen und Sprechen changiert.
Inhaltlich nimmt einem Barry in seinen Gedichten auf kleine, grosse Reisen mit, surreale Begegnungen mit dem Nachbarn, einem Hasen oder dem Zorn Anger When anger falls on the plate like food limp -- something you wouldn't want to eat-- don't force yourself I tell myself let it go the feeling of being pissed off having been ripped off on the run taken for a fool some no count lame ass crier couldn't put a shoe in a basket on a bet or control his own best leads a shame to his hours sucking on anger.
Diese neue soziale Bewegung ist mit dem Occupy-Impuls noch nicht zu Ende, sie hat gerade erst angefangen! Diese Sitzung von Theory Tuesday wird in deutscher Sprache abgehalten. Bitte vorab den Text lesen. So potenzieren sich 7 Positionen um die Sicht- und Handlungsweise einer jeweils anderen. Und was haben wir davon? Worin verweisen sie noch auf diese? After her return to Switzerland, Ingrid taught Sigrid 'needle-binding', or 'Nadelbinden', which is a term to best describe this unique, "viking way" of knitting.
Both Ingrid and Sigrid would love to share this old knitting technique with you! If you would like to participate in this workshop, please bring the following: The language of the workshop doesn't matter: The words austerity and debt imply or signify a lack of something. These two words are part of the vocabulary used in mainstream media to describe the current economic situation in Portugal. Taking place in the midst of intense social struggles, the event began shortly after the November 14th European General Strike, a protest marked by police brutality and severe repression in Lisbon.
Performances, concerts, and discussions were the response to the open call to use the gallery space. More Informations about current political struggels in Portugal: During this session, Philip Matesic will present the following two essays from the book "Everything is in Everything: Smith The essays collected in this book represent versions of papers presented at a symposium held at the Art Center College of Design in Pasadena, California.
It's encouraged that you read the essays beforehand. The discussion will be held in English. During this session, Daniel Morgenthaler will present text excerpts from the Sternberg publication "Solution — United States of Palestine-Israel" is an anthology of texts proposing a doable solution for the region. With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers solutions that will make life better, and proposes ways to do it.
Kunst und algorithmische Maschine Teleonomies - Pause - Zootechnologien — Swarm Intelligence als Kulturtechnik Das Kunstwerk als technisches Individuum Inmitten der Kunst, inmitten des sozial-politischen Aktivismus, inmitten der Medien. Und dann kam die Krise. Learn how to assemble a hand-held bouquet and wrap it in a professional manner!
Two types of bouquet making will be taught, the forward facing and the rounded bunch, which are very popular in Switzerland. Please bring a bunch of flowers with you and be prepared for them to be man-handled by the group. You will of course get to take home your own bouquet at the end of the class. The workshop will be conducted in English, with German explanations on hand. A bunch of flowers.
Kino Raum 1 is the first in a series of collaborative exhibition events by Jann Clavadetscher and Rouzbeh Rashidi. The practice of both artists is rooted in experimental cinema, and Kino Raum will explore and dissect the concept of the cinema-space, both physical and mental. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film.
This journey through a cinematic night probes the very essence of the cinematic image. Atlantik Film Jann Clavadetscher: A match was struck and for this short moment audience and cinema became one. Kino Raum 1 will be the continuation of this Exposure Project. This event will take place in two parts: Day one, the film is exposed to light. Day two, the film will return from the Laboratory and be projected. Homo Sapiens Project Rouzbeh Rashidi: Homo Sapiens Project are highly experimental works, part cryptic film diaries and part impressionistic portraits of places and people, and often suffused with an eerie sense of mystery reminiscent of horror cinema.
From highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images, the restless creativity of this vision of life as a cinematic laboratory is never short of surprising. Encompassing everything from documentary monologues to found footage, Rashidi constantly strives to expand his filmmaking palette while putting his unmistakable stamp on whatever footage passes through his hands.
I, An Actress, George Kuchar 8min 2: Mario Banana No1, Andy Warhol 3min 3: Keys to Our Heart, Kalup Linzy 24min 6: K section a , Ryan Trecartin 33 min. Its format shores up the paraliterary, confessional, and epistolary precedents for our virtual vernaculars. Designed by Eric Nylund, the pages concretize found quotes, trending language, anecdotes, notes and rants; call it inattentionality as method. If the book sustains a material limit that belies the diffuse shape of the cloud, then its readings attempt similar concretions by having reader and audience occupy the sites that compose the physical form of the Internet.
On other occasions, readings pair with documentation shot on server floors, thus temporarily constructing the data center within the art institution. Each scenario discloses securitized spaces in which reader and audience already reside, for we encounter the material doubles of our virtual subjectivities as data stored in server form.
Rather than concede to the seeming intractability of cognitive capitalism, these readings potentiate novel, critical operations through shared access, listening and discussion. The reading-performance will take place at Google Zurich and is booked out. No seats available anymore. Thanks to Google for supporting and hosting "I'm that angel". Heftvernissage On-Curating Issue Design Exhibited - - -. Design auszustellen, ist heute kein Ausnahmefall mehr.
Design im Sinne industrieller Herstellung hat sich in eine Disziplin des Ausstellens gewandelt. Dabei ist auch das Herstellen zum favorisierten Ausstellungsthema geworden. Intervention Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Interventions thrives on the unexpected juxtapositions and clashes that result from addressing a wide range of philosophical and political issues such as autonomy, economy, finitude, aporias, capitalism, and many more.
Interventions does not limit itself to a specific discipline and welcomes all intriguing papers from Switzerland and abroad. Wie lehrt die Kunst? Die Ausstellung kann also nur von aussen eingesehen werden. Juni , 19 h. Juni , 20 h. Diagrams are strange devices and techniques which attempt to make relations tangible and at the same time evade straight formats of representation. They are expression in physical as much as in immaterial ways. Ian Kerr - Diagram The goal of the session is to familiarize ourselves with diagrammatic practices as means for tracing and enabling movement.
Not dividing between movement in space and movement of thought, we want to foreground and experiment with techniques of non-representational expression and relational movement. The material exposure will be complemented with collectively developed techniques and propositions for diagrammatic practices. We aim for collaborative and experimental processes with the 'stuff' at hand! Lia Perjovschi, The Universe, As this year's Romanian Pavilion is the talk of the town and has made the "Best Pavilions" list of numerous critics, while several major artists and galleries from Romania are on view at Art Basel, the perception might be that the Romanian art scene is strong and thriving.
But major challenges and obstacles are more the reality. Olga Stefan will present the political and cultural context in Romania, selections of work by practicing artists and initiatives, as well as the current debates and issues affecting the art scene. Buchvernissage , , What goes into a compost, and what should not? How do you build a compost? What exactly happens inside it?
And how many worms should you ideally find in a handful of compost? Please bring along with you what you think makes for good compost. But the year I did this project the precipitation was as its lowest. So it dried rivers and still machines became my subjects.
However due to the roughness of the constructions they appeared to me as modern ruins, sculptures from the past and scars in the landscape. The series explores the complex issue of environmental pollution by plastic waste, combining visual plasticity with the resilient capacity of marine life to evoke the formative process of nature. Levitating approaching contemporary entities, which are thousands of years older then me.
New microbes species settle. The dark liquid expands into infinity. Borderless, transnational thinking evolves in the deep sea through sound and loops. In the mostly unexplored ocean the human species is a minority. Perception alters, new connections between humans and non-human entities occur. The eyes of the lighthouse Opening Hours: Saturday 5 May Saturday 26 May On continental coasts, where the sea meets the land, ports manage the transfer of goods and the balance of offer and demand with heightened efficiency.
Such maritime commerce stands as the historical engineering of our global world, accelerated by the adoption of standardised containers in the s. Ships ride anonymously over the sea, the lifting sea, their bellies filled with plastic wrapped merchandise. We appear to see more afar than we used to, through digital devices and virtual fluxes, while crowds fly to distant lands that air technology has made suddenly accessible. And yet, much remains unseen in the eyes of the lighthouse, which blips to bring the sailors safely home — and their goods for the improvement of lighthouse technology in the 19th century was directly connected to mercantile interests — thereby necessarily offering dark passages and suggesting the persistence of blind spots below our promethean visions.
Through the lighthouse, we can explore and question the modes of representation of our socio-natures: If the eyes of the lighthouse can guide us towards an enquiry into our perceptions of 21st century planetary conditions, they might then also shed light on the obscurity which surrounds the circulation of earthly materials, that fuel the light of our cities and the heat of our ever more complex technologies. It is to the blood of the land that we turn the spotlight, to gaze beneath the metal of the discreet gas and oil pipelines, to the construction of roads and canals, the baskets of railways and trucks roaming planes and mountains.
We foresee the advanced state of Narcissus, peering no longer to himself in the pool of water, but inward in the woods behind him. And just like the industrial city of Tony Garnier used anthropomorphic features to organise its exemplary functioning, we look at the metabolism of the hinterland to query its desires and its health. Starting with a view from the interior of a lighthouse's red lantern the works look at modern systems of visibility, encoding, simulation and information.
The show combines images of technological systems, a simulation deck which can emulate any port in the world, the interior of a barcode scanner, a view from the lighthouse. The works allude to the ways in which many global communication technologies used in logistics, cybernetics and infrastructure were influenced by developments in maritime environments. The invention of the original concept for the now ubiquitous barcode was inspired by engineer Norman Woodland's experience with morse code.
We could also think of lighthouses as original nodes in a developing network of a developing global communication and trading system. The individual elements in this exhibition reference the transmission and absorption of light at the heart of many contemporary communication technologies. Her research explores the shifting grounds of port cities, the visible and invisible forms of global trade, and reflects on an inversion of the hinterland, whereby the inner land is projected outwards onto the sea.
Salvatore Vitale Salvatore Vitale, Wolf , Salvatore Vitale takes us into the heart of the Hinterland, in the Swiss Alps, searching for an ever elusive yet resolute presence: The re-emergence of the wolf in Europe has been the object of conflicted debates, and carries strong issues pertaining to the place of non-human species in our mixed-communities and environments. Through photographs, film and sound, Vitale illuminates the shadows of the hinterland, and the changing representation of wilderness and its perceived values at the turn of the 21st century.
Mai — Wir glauben, die beste Antwort auf die viel beschworene Krise der wissenschaftlichen Zeitschrift bzw. Hybrid ist auch die Wissensgeschichte, die uns vorschwebt: Komplizierte, dichte, miteinander verwobene Geschichten, die im Kollektiv entstehen. Anatomy of a Complicated Site Airports tend to signify mobility, flows, ahistoricity, placelessness, consumption. And yet they are entangled, in multiple ways, with their surrounds; for they are complex assemblages, where technology and nature, science and society, futures and pasts intimately intertwine. The best response to the so-called crisis of scientific publishing, we believe, is new formats that bring together print and digital.
The history of knowledge, as we imagine it, likewise is hybrid: Saturday, 21 April , Sardinia, Venice and Antonio Gramsci She works and conducts researches on different types of artistic, editorial or institutional practices, visual cultures, and connections between artists, critics, periodicals, galleries, and museums in the 20th century, chiefly in Italy and with special attention to the political context. She has recently published the book Un margine che sfugge: Between and Carla Lonzi set aside her work as an art critic to found, along with artist Carla Accardi and journalist Elvira Banotti, one of the most radical movements in Italian feminism: Rivolta Femminile Female Revolt.
HD Video, color, 8 min Quinn Latimer is a poet, art critic, and editor from California whose work often explores feminist economies of writing, reading, and image production. Her most recent book is Like a Woman: Essays, Readings, Poems Berlin, , and she was editor-in-chief of publications for documenta In Doubling the Line , Latimer will discuss the constant loop between poetic and critical writing practices as they approach or attempt to narrate visual art production. Her talk will focus on feminist literary and art practices in particular, as examined in her most recent book. Federica Martini Maria Lai: From to she was a fellow of the Swiss Institute in Rome.
Qui si fa sul serio, diceva; la mia presenza era per lui un ingombro. Ma io non dubitavo di essere al posto giusto, anche se pensavo alla Sardegna e alla mia famiglia con il rimorso di un tradimento. Omaggio a Nivola, Arturo Martini was still from that generation that did not give women space in art. But I did not doubt that I was in the right place, even though I was thinking of Sardinia and of my family, with the remorse of a betrayal. Homage to Nivola , Quando un operaio per andare a lavorare fa sempre la stessa strada, non si accorge che il suo sguardo tocca le opere architettoniche che vede.
Ma in questo modo lo sguardo acquista un ritmo. He gave me an image, and I started from there.
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He said that art must reach the man in the street. However, in this way his gaze acquires a visual rhythm. As a videographer, she combines video art and performance exploring feminist questions, which are at the heart of all her artistic endeavors. In she was awarded a residency at the Swiss Institute in Rome. During that year, she produced an experimental short film, Concettina, based on the Lutheran Letters of P. Pasolini, with her two daughters as the main actresses. Since , she has undertaken a practice of critical artistic transmission through a new series of works.
Sputiamo su Hegel is also the title of the book-length manifesto of Rivolta Femminile, the seminal group in Italian feminism, written by art critic Carla Lonzi. Friday, 16 March , Stefan Jaeggi Donatella Bernardi b. Nicola Genovese is an artist and musician from Venice, Italy. He mainly works with installation and performance. The male fear of losing power and the anxiety this creates are topical issues that are ripe for scrutiny as feminism becomes increasingly mainstream and deradicalized.
As a corollary to this, hypermasculinity does not allow any form of weakness. Grab them by the pussy. Power issues inevitably lead to conflicts or exploitation, and what about sexual impotence and slippers? Nicola Genovese would like to come to a deeper understanding of the fragility and ambivalence of the contemporary male, who is — fortunately — facing the slow decline of patriarchy.
Thursday, 29 March , La donna clitoridea e la donna vaginale brickbat , Brick, brick fragments, glue and archival digital print. Claire Fontaine has taken part in two events on the legacy of Italian feminism organized by Helena Reckitt: In light of recent developments in the feminist movement, Claire Fontaine will explore the issue of emotional exploitation and the possibility of striking within the context of care work.
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The labor of love will be approached as one that is constantly submerged, an invisible effort undertaken by women to hold society together. This work is the secret core of capitalism, which thrives on its charity and generosity and, by denying its importance, threatens every workforce with the prospect of going unremunerated, perpetuating the lie contained in the supposed equivalence of time to salary and money in general.
Her work is predominantly concerned with the aesthetic possibilities offered by the contemporary discourse of artistic research. Using this discursive field of research as a foundation, Schonfeldt is concerned with interacting site-specifically in spatial environments to create informative, contemplative situations, which seek to enact alternative modes of experience within the production and reception of knowledge. The overriding impulse behind her work is the generation of alternative possibilities of interacting with history and the construction of new narratives in juxtaposition to accepted cultural orders.
Diary of a Feminist , Schonfeldt offers the audience a minor performative gesture to share her personal discovery of Lonzi through La Rocca. Video still This performance examines the relationship between language, voice and power. Negotiating the materiality of speech and gestures, it investigates the power of the disembodied voice and its relationship to other bodies and find agency in this relationality. The piece deals with questions around the constitution of subjectivity and becoming an active agent through language both in a political or civil sense.
It is important to mention the set up of the performance: The audience was led downstairs where the dancers were in place. The actor was upstairs, unknown to the audience. They would only hear her voice. The performance is based on rehearsed improvisation, by which I mean there was a script and a choreography but each time the piece would be different through the interaction between the three performers. The piece is about how we can each find a language, a form of expression through different means, by language as well as an embodied vocabulary.
Dance choreography by Patricia Langa. Delphine Chapuis Schmitz poems fRom our time s Delphine Chapuis Schmitz will be reading from a collection of texts she is currently working on under the title poems fRom our time s , and will give a short presentation of her practice at the crossroads of visual art and experimental writing. This in-betweenness is the condition of taking place and the mechanism of giving meaning. The event is part of the curatorial research by Dimitrina Sevova, On the Politics of Language and the Aesthetics of Affect — Thinking of Art Beyond Representation in Contemporary Art Practices and Production , a qualitative curatorial research that maps out a cluster of artistic positions and reflects on their practices by means of relational and analytical techniques, from the perspective of the affective politics of the performative and the politics and aesthetics of language, conceptualizing further the relation between contemporary art, plural performativity, and the singular plural.
The research explores the potentiality of language as an artistic material and reflects on the relation between the performative and performance, practices and discourse, in voice-based and text-oriented art practices. The research asks how they relate a politics of place and the possibilities of language in the trajectory of the plural performative as a proliferation of difference.
The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production. The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm.
The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space. The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields.
I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation. The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre. Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts. For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work.
I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect. Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art.
At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life. There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters.
It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research. Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia. From Abdizuel to Zymeloz Donatella Bernardi. Collection Musei Capitolini, Rome.
Jeder Streifen ist mit dem Namen eines Engels bestickt. Hier gibt es nur eine. Four hundred and ten samples of what things could be like — hue, texture, printed pattern or monochrome surface, opaque or transparent, smooth or striated. When a child is named, two lists are traditionally composed before the birth. Here there is only one. The complete intro including a list of contributions can be found on our materials website.
We have found ourselves in our localities sensing translocally. We want to move instead of being ordered into something. We want to do something in common, to come together, being many and so different, to make feminist media urgent and her voice heard. Polina Akhmetzyanova Gracious numbers or thy glass will show thee how thy beauties wear Duration of performance: Johanna Bruckner, Scaffold , The project is part of the Corner College platform Transferences: Friday January 19, , 18h — 21 h The exhibition will remain open till January 28, Concept: The Blackout Magazine invites artists, historians and theoreticians to reactivate editorial formats emerged around industrial utopias.
The first two issues are Blackout 0: Art Labour and Blackout 1: They focus on industrial and cultural labour, Olivetti, visual arts and post-industrial conditions. I am a Lahore based artist. I currently teach at the National College of Arts, Lahore and also contribute to various art publications.
In , I engaged some young people to help me make work for a new exhibition. I felt that the safe social space that formed during that time was transformative and healing for everyone. This experience shifted my work from an object based practice to a participatory approach. So, in my next art project I tried to recreate that safe social space. But I found galleries to be stressful spaces that put pressure on people to behave in a certain way.
So I grew dissatisfied with the gallery system. When I arrived in Zurich in for a residency, I thought it would be better that, instead of working from this problematic position, I use the opportunity to find a solution. I conceived Zurich Konversationen as a collection of conversations with people who employ the arts as a tool in their own practices in an attempt to make the world a better place. Through these conversations I am trying to better understand the role of art and artists in life and how the approaches discussed in the conversations can help me in my own practice.
As I am nearing the end of the project it is becoming clear to me that I cannot call myself an artist anymore, nor can I make and exhibit art in galleries. So I have decided to call myself a facilitator and to independently hold one-on-one and group sessions to facilitate self-healing through the arts. Having been through my own self-healing process and continuously working on my own awareness I understand the challenges that arise through such a process.
As a facilitator I have two main roles: The series of conversations I had with people concerning the same are archived as audio recordings. These can be accessed online at the website www. Dimitrina Sevova has kindly invited me use Corner College's space to present my final project.
It will be structured like a panel discussion. She will mediate and there will be 2 or 3 other people on the panel. It will be a group discussion about the same questions that I have posed during the project and also a reflection on the project itself. It will be held on 16 December at 4: Dieses Jahr wird unsere Ausstellung an einem sehr besonderen Ort stattfinden: Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7.
Januar , Uhr Anreise: Nicole Bachmann, I say , But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works. I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them. It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance.
Thursday, 07 December , Friday, 08 December , The research project Art Work ers began from a set of historical facts and some intuitions: Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials. Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project. Opening 5 November , The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice.
The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression. Une prise de parole 13 - 29 October Opening Friday, 13 October at Friday, 27 October at Book as Performance in conversation with Georg Rutishauser. Detailed program and additional materials Friday, 27 October , The Sympodium strives to generate an energetic open space for aesthetic experience and exchange of knowledge between the current active practitioners in the field of Performance Art s: Those committed to Performance Art will share their practices, experience, reflections, thoughts, and research.
The Sympodium is a podium that encourages invited participants to give a very direct subjective response from the material objectives of the event itself. The Sympodium is quasi-academic and brings together practitioners inside and outside Academia to publicly present and discuss their practices and modes of articulation and action. The Sympodium operates within the local, interregional and international Performance Art scene. It strives for different perceptions and a new ontology of the relation between Performance and Art, and a pattern of branching that expands the field of live practices.
Das Sympodium operiert mit der lokalen, interregionalen und internationalen Performance Art-Szene. But we also ask if this these are states beyond criticality where historical reflections on gold refinements and colonial settings are muted. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy.
The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown.
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Saturday, 5 - Thursday, 31 August Saturday, 5 August , Thursday, 31 August , Guided tour with the curators and Kosta Tonev, with coffee, tea and cake. Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten. Everything I did during my stay in that place was to match up the inside with the outside. To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place. Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event.
Site-specific installation, video, archive materials, wallpapers. The work makes a connection between two places founded by Durand: She then founded the journal La Fronde The Sling , a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack.
Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition. My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall.
In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.
Stuart Hall — war ein Kulturtheoretiker und marxistischer Intellektueller. At Kaserneareal in Basel: Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Ein Teil daraus findet sich in dieser Publikation.
Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Eigentlich nicht die Serie, sondern bloss die Storyline von Clarke und Lexa: Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert. Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert.
The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity. Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection.
The second denounces what the West has done and continues to do to Africa in the name of these definitions. These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: How to Affect Postcolonial Public Spaces?
Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism. On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler.
Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities. The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism. Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics.
Communism and The Dividual Joshua Simon. Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm. These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan. This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well.
That moment seems to inform our moment as well. Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks. The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order.
Mai - Samstag, Dieses Tempus kann sich sowohl auf die Gegenwart als auch auf die Zukunft beziehen: Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern.
Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.
Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture. Additional Events Listening Sessions: RSI is an avant-garde radio station featuring sports and cultural content.
Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters. Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants.
It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era. In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism. This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants.
Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country. These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism. In , the Nationalist Party came to power and apartheid became the official state policy. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them.
The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid. They have been reframed as tourism destinations and sites of post-apartheid nation building. Stoler, Duress , The talk is concerned with such histories of South African colonial formations.
They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses. It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers. On March 17, Tenzing Barshee 's talk at the Postgraduate Programme will discuss and compare the following projects: On March 23, the exhibition Der Verdienst.
The two exhibitions will resemble and question each other. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits. The second one tries to draw the line. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in This event on the Curating mailing archive: As freelance curator he has mandates for various institutions in Europe and the US.
He is an alumnus of the Postgraduate Programme in Curating. The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics. Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.
Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space. Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.
These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.
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