Friday, 02.10.2009
19:00h
Im Herbst 2008 hielt sich Michael Günzburger für drei Monate in New Delhi auf, um mit nordindischen Kunsthandwerkern Multiples zu produzieren. Seine einzige Bedingung für die Kooperation war, dass die angefragten Handwerksmeister auch am Sujet mitarbeiteten. Dies war alles andere als einfach, und nötigte etwa Michael Günzburger, einem Miniaturmaler aus Jaipur den Auftrag zu geben, einen "Haufen Haare mit Flecken" zu zeichnen. Gerade daraus entwickelte sich ein Austausch, der durchaus als tiefergreifenden Einstieg in einen interkulturellen Dialog über Handwerk und bildende Kunst, deren Auftrag und Ausführung, und Autorenschaft und Tradition verstanden werden kann.
Zum ersten Mal zeigte Michael Günzburger in New Delhi selber die daraus entstandenen Arbeiten, und präsentiert sie nun zusammen mit einer Einführung des indischen Künstlers Ravi Agarwal im Corner College.
Ein Haufen Haare (Zwischenstufe), 2008
Wednesday, 16.12.2009
17:00h
Graphic Design for and Against Cities
"Salon de Recherche": Axel John Wieder, Curator Künstlerhaus Stuttgart (with Ruedi Baur, Miguel Robles-Duran, Vera Kockot, Jesko Fezer and Matthias Görlich)
The first Civic City Display in the Showcases of Corner College is centered around the question of a critical representation of urban issues. It presents graphic works by Zak Kyes and Metahaven.
"Graphic Design for and Against Cities" refers to the research exhibition by the Amsterdam based design collective Metahaven "Stadtstaat. A Scenario for Merging Cities", previously shown in Künstlerhaus Stuttgart and Casco, Utrecht, and the group exhibition "Dubai Düsseldorf" at Kunstverein für die Rheinlande und Westfalen, which included work by London graphic designer and publisher Zak Kyes. Around the same time in 2009, both exhibitions were concerned in different ways with imaginary merged cities as a phenomenon of globalization. The works of Metahaven and Zak Kyes deal with the potentials of visual communication in the representation of such cities as well as with the possibility of graphic critiques of strategies for urban marketing and its image politics.
Duration of the exhibition: 17.12.09–10.01.2010
Thursday, 17.12.2009
20:00h
Graphic Design for and Against the City
Exhibition opening and "Salon de Recherche": Metahaven (with Ruedi Baur, Miguel Robles-Duran, Vera Kockot, Jesko Fezer and Matthias Görlich)
The first Civic City Display in the Showcases of Corner College is centered around the question of a critical representation of urban issues. It presents graphic works by Zak Kyes and Metahaven.
Dubai DĂĽsseldorf
"Graphic Design for and Against Cities" refers to the research exhibition by the Amsterdam based design collective Metahaven "Stadtstaat. A Scenario for Merging Cities", previously shown in Künstlerhaus Stuttgart and Casco, Utrecht, and the group exhibition "Dubai Düsseldorf" at Kunstverein für die Rheinlande und Westfalen, which included work by London graphic designer and publisher Zak Kyes. Around the same time in 2009, both exhibitions were concerned in different ways with imaginary merged cities as a phenomenon of globalization. The works of Metahaven and Zak Kyes deal with the potentials of visual communication in the representation of such cities as well as with the possibility of graphic critiques of strategies for urban marketing and its image politics.
Duration of the exhibition: 17.12.09–10.01.2010
Saturday, 20.11.2010
19:00h
Alle Künstler und fast alle Herausgeber sind anwesend, von den Verlegern nicht zu sprechen.
Ein Abend mit Hans-Christian Dany, Philip Gaißer, Frank Hesse, Max Hinderer, Gustav Mechlenburg, Britta Peters, Nora Sdun, u.v.a.
Liebe Kolleginnen und Kollegen, liebe Kreidefresser, Kettenraucher, Koffeinsüchtler,
die elfte Ausgabe des Kultur & Gespenster-Magazins zum Thema Drogen kommt nach Zürich und ist bereits so gut wie vergriffen – es kursieren noch einzelne Exemplare im Buchhandel – wir kommen trotzdem, und bringen zur Ablenkung zwei Neuerscheinungen des Textem Verlags mit:
Philip Gaißer: "Simplex Morph"
Anlass dieses auf einem Risographen gedruckten Künstlerbuchs war die im Frühjahr 2010 stattgefundene Ausstellung "Keine Entfernungen zu überwinden zwischen Fragesteller und Antwortgeber" im Kunstverein Harburger Bahnhof.
Und Frank Hesse Frank Hesse: "Sammlung Brandenburg"
Diese Sammlung von einzelnen, mehr oder minder funktionstüchtig wirkenden Schuhen erinnert an das fotografierte Inventar eines anthropologischen Museums. Dieses kleinformatige Künstlerbuch ist die ideale Begleitung nicht nur auf dem Weg zum Orthopäden, egal ob man an Knick-, Senk- oder Spreizfüßen leidet, sogar Heideggers Feldwege lassen sich mit diesem Buch bewaffnet leichfüßig und unbesorgt beschreiten. Es existiert von jedem Schuh übrigens immer nur der rechte, und wir haben uns bemüht, die Barytabzüge auf ein vergleichbares, also hochglänzendes Druckpapier zu bannen.
Die neuste Nummer von Kultur & Gespenster
Kultur & Gespenster, "Drogen & Drogen"
Ein 328 Seiten dickes, leider ausverkauftes Magazin aus dem Textem Verlag für 12 Euro
Philip Gaißer: "Simplex Morph"
76 Seiten, für 21 Euro Herausgeber: Philip Gaißer & Magazin im Kunstverein Harburger Bahnhof e.V. ISBN 978-3-941613-34-8 Textem Verlag 2010
Frank Hesse, "Sammlung Brandenburg"
79 Seiten für 18 Euro, Textem Verlag 2010,
ISBN: 978-3-938801-50-5
Saturday, 05.02.2011
18:00h
"What would it mean to win?"
ReCoCo - Life Under Representational Regimes
Filmstill
Der Film “What Would It Mean To Win?” wurde während der
Blockaden des G8-Gipfels in Heiligendamm in Deutschland im
Juni 2007 aufgenommen. In ihrem ersten gemeinsamen Film
fokussieren die Regisseurin Zanny Begg und der Regisseur
Oliver Ressler damit den aktuellen Stand der Anti-Global-
isierungsbewegung. Der Film kombiniert dokumentarisches
Bildmaterial mit Interviews und Animationssequenzen und ist
anhand von drei für die Bewegung wichtigen Fragen
strukturiert: Wer sind wir? Was ist unsere Macht? Was würde
es bedeuten zu gewinnen?
Beinahe zehn Jahre nach “Seattle” erforscht der Film die
Auswirkungen, welche die gerne mit Anti-Globalisierungs-
bewegung bezeichneten Zusammenschlüsse verschiedener
Gruppen auf die zeitgenössische Politik hatte. Seattle wird
denn auch als Geburtsort der “Bewegung der Bewegungen”
beschrieben und markiert einen Zeitpunkt, an dem sich der
Widerstand gegen die kapitalistische Globalisierung in den
Industriestaaten manifestierte: Das neue soziale Subjekt –
die Multitude – betrat die politische Landschaft. In den
letzten Jahren bekundet die „Anti-Globalisierungs-
bewegung“ Schwierigkeiten ihre Interessen anzubringen,
was mitunter mit der Änderung der globalen Politik nach
den Anschlägen am 11. September 2001 in New York
Zusammenhang steht.
Oliver Ressler wird innerhalb der Ausstellungs- und
Gesprächsreihe "ReCoCo: Life Under Representational
Regimes", die von Siri Peyer und Joshua Simmon
kuratiert wird, eine Einführung zum Film machen, der
anschliessend gezeigt wird. ReCoCo - Life Under
Representational Regimes untersucht die Wertvorstellungen,
die sich seit dem Beginn der modernen Demokratie etabliert
haben und die in eine Krise geraten sind. Die Ausstellung
parallel zur Film-/Vortragsreihe im Corner College findet im
White Space statt.
ReCoCo wird finanziell von Kultur Stadt Zürich, dem österreichischen Kulturforum, der Ernst und Olga Gubler- Hablützel Stiftung und der Georges und Jenny Bloch-Stiftung unterstützt.
Weitere Informationen bitte unten klicken:
Saturday, 26.02.2011
18:00h
"So geht Revolution"
ReCoCo - Life Under Representational Regimes
...
„Join the Revolution!“, „I fight for my rights!“, „Viva la libertad!“, „Radikalisiert das Leben!“ - Auf den ersten Blick sind dies Parolen und Slogans aus dem Wörterbuch der neuen sozialen Bewegungen. Die Slogans und Parolen stammen allesamt aus kommerziellen Werbeanzeigen, die in den letzten Jahren ihren Weg in die Medienöffentlichkeit fanden. Seit den 60er Jahren hat die Werbeindustrie die Bilderwelten linken und alternativen Protests für sich „entdeckt“. Mit Ikonen des Protests, deren Parolen, ihren Zeichen und Symbolen lässt sich gut Werbung machen. Che Guevara, Karl Marx, Lenin, Gandhi, Mao oder Ulrike Meinhof, Straßenschlachten und Friedensdemos, rote Fahnen, Hammer und Sichel oder geballte Fäuste fliessen in die Werbung ein. Die Sammlung „so geht Revolution“ - Werbung & Revolte des Ludwigsburger Kulturwissenschaftlers Rudi Maier umfasst derzeit ca. 3000 derartige Werbeanzeigen aus den Jahren 1967 bis heute. Die Sammlung zeigt, wie sich in der heutigen Konsumgesellschaft Protest und Pop, Macht und Mode, Demonstration und Design auf wundersame Weise ergänzen. Mit ihr lässt sich fragen, was Begriffe wie Freiheit, Radikalisierung und Revolution heute bedeuten. Mit dem Vortrag und den Filmbeispielen soll ein klein wenig Klärung in Sachen Freiheit und Revolution geleistet werden, nicht mehr, aber auch nicht weniger. Die Sammlung will, frei nach Karl Marx, „den bestehenden Verhältnissen ihre eigene Melodie vorsingen, um sie zum Tanzen zu bringen.“
Rudi Meier wird innerhalb der Ausstellungs- und
Gesprächsreihe "ReCoCo: Life Under Representational
Regimes", die von Siri Peyer und Joshua Simmon
kuratiert wird, einen Vortrag mit verschiedenen Film-
beispielen halten. ReCoCo - Life Under Representational
Regimes untersucht die Wertvorstellungen, die sich seit
dem Beginn der modernen Demokratie etabliert haben
und die in eine Krise geraten sind. Die Ausstellung
parallel zur Film-/Vortragsreihe im Corner College findet im
White Space statt.
ReCoCo wird finanziell von Kultur Stadt Zürich, dem österreichischen Kulturforum, der Ernst und Olga Gubler- Hablützel Stiftung und der Georges und Jenny Bloch-Stiftung unterstützt.
Weitere Informationen bitte unten klicken:
Monday, 30.05.2011
20:00h
Sound Interjection was defined concept by Industrial Designer Sam Hecht to figure out Yuri Suzuk`s work. Sam Hecht writes: "Sound interjection is defined as a person contributing to the atmosphere of a room by way of sound.Often too much emphasis is put on the visual when it comes to the use of our environment. I believe that what yuri has been doing is to show a new dimension to the conversation between objects and people. Sound interjection is playful but it is also an illustration of what is possible with the manipulation of product systems."
Yuri Suzuki will speak about his perspective of using sound as material. Also want to speak about relation between sound and human.
Monday, 19.12.2011
20:00h
Friday, 20.01.2012
18:30h
MA D chit-chat : 20 Bilder x 20 Sekunden = 1 Projekt
Der Master of Arts in Design der Zürcher Hochschule der Künste veranstaltet
ein Semesterabschlussfest unter dem Motto eines Pecha Kucha* Abends und lädt alle herzlich ein.
MA D chit-chat : 20 Bilder x 20 Sekunden = 1 Projekt
MA Design Studierende präsentieren ihre aktuellen Projekte
-
Neo-Craft-Lab – Das Kunsthandwerk neu gedacht
Tina Stieger befasst sich mit dem Innovationspotenzial des traditionellen Kunsthandwerks und dessen Überführung in die zeitgenössische Designpraxis.
-
Slow to go – Die Verbindung vermeintlich gegensätzlicher Ernährungsphänomene
Fabienne Homberger zerlegt die Phänomene "slow" und "to go" in ihre Einzelteile und kreiert daraus neue zusammengesetzte Optionen für Slow to go-Bedürfnisse.
-
Full Color Planet: Hollow Grounds – Die Bewohner von Ella, Teil I
Jeremy Spillmann führt Hollow Grounds vor, das erste Spiel rund um den Kartographen Piri, aus der dreiteiligen Independent Video Game Serie Full Color Planet.
-
Daina: Das Herbarium - ein märchenhaftes Computerspiel für Jung und Alt
Dario Hardmeier und Raffaele de Lauretis benutzen das Prinzip des "Meaningful Gameplay" sowie analoge Medien, um ein neuartiges Abenteuerspiel zu entwickeln, welches insbesondere Kinder ansprechen soll.
-
Follow or being followed – Communication based on synchronic acting
Andrés Villa Torres explores the sensorial boundaries and the paradigms of information transference between people. He studies cases where communication happens when people interact by observing, acting and copying each others movements.
-
Decay – Designing for Ephemerality in Interactive Artefacts
Luke Franzke's project deals with emerging biodegradable technologies for use in interaction design, analysing the consequences of this prospect and developing new design approaches for this field of research.
-
be cool use swiss wool – Schweizer Wolle als Rohstoff im Design nutzen
Madlaine Cappat befasst sich mit der Schweizer Wolle und deren Potenzial im Produkt Design.
-
GPS Wetsuit – Grafik Design und neue Technologie für persönliche Produktbindung und Produktweiterentwicklung
Tina Luft untersucht die Möglichkeit durch Grafik Design und neue Technologien die emotionale Bindung zwischen Surfer und Neoprenanzug zu verbessern.
-
A CASA. COMO CONVÉM – Kunstbuch bleibt Kunstbuch.
Priscila Gonzaga beschäftigt sich mit einem Haus im Nordosten Brasiliens und erstellt einen Guide zu einer ausgefallenen Kunstkommune in Recife; ein Projekt welches sich zwischen Kunst und Buchgestaltung bewegt.
-
Visualization and Valorization – Ein Konzept für die archäologische Visualisierung und die Wissensvermittlung
Bernard Reymond entwickelt am Beispiel des römischen Cigognier-Heiligtums in Avenches(VD) ein Vermittlungskonzept, das die wissenschaftlichen Sachverhalte einem breiten Publikum erschliessen kann.
-
master.design.zhdk.ch
*Pecha Kucha wurde 2003 in Tokio als ein Veranstaltungsformat für junge Designer entwickelt, um ihre Arbeiten einer breiteren Öffentlichkeit zu zeigen und somit neue Kontakte zu knüpfen. Das Format wird mittlerweile in Hunderten von Städten auf der ganzen Welt eingesetzt und inspiriert Kreativen weltweit. Basierend auf einer einfachen Idee: 20 Bilder x 20 Sekunden, das ist ein Format, dass Präsentationen kurz und prägnant macht, und die Veranstaltung vielfältig und in einem dynamischen Tempo hält.
www.pecha-kucha.org
Thursday, 28.06.2012
19:00h
Der Künstler Fabian Reimann stellt in der Publikation "The Surveyor" Zusammenhänge zwischen Spionage, Kunst und Mehrfachidentitäten her. Dabei geht Reimann von dem englischen Kunsthistoriker Anthony Frederick Blunt aus, der 1979 in einer Unterhaus-Rede von Margaret Thatcher öffentlich als sowjetischer Spion enttarnt wurde. Die Enttarnung Blunts als Vertreter des Establishments war für die britische Oberschicht ein gravierender Schock, bestätigte sie doch jede Paranoia in der Epoche des Kalten Krieges.
Das Buch The Surveyor knüpft an eine gleichnamige Installation von Fabian Reimann an. In der Publikation berichtet der Künstler von den Wechselbeziehungen der Medien in den Rechercheprozessen seiner Arbeit.
Mit Texten von Stephanie Tasch, Denise van de Beek und Jan Wenzel. Besonders hervorzuheben ist das erstmals veröffentlichte Bekennerschreiben Blunts, das im Juli 2009 von der British Library der Öffentlichkeit zugänglich gemacht wurde.
1979, Sir Anthony Frederick Blunt ist nicht mehr Sir. Der Grund dafür liegt weit zurück in Cambridge, wo er studierte. Dort kam er mit einem geheimen Kreis von Männern zusammen, jung und von glühender Leidenschaft für den Kommunismus. Später wurden sie bekannt als die Cambridge Five. Der erste von ihnen wurde 1951 enttarnt, der zweite ein Jahr später. Blunt war zu dieser Zeit Professor für Kunstgeschichte und Berater der Queen in Kunstangelegenheiten, er betreute die Gemäldesammlung der Windsors als Surveyor of the Queen’s Pictures. Französische und italienische Kunst waren sein Schwerpunkt, Poussin insbesondere. 1963 flog der dritte aus dem Kreis der Cambridge Five auf, er hatte sich wie schon die anderen nach Moskau abgesetzt. Blunts zweite Identität wurde ein Jahr darauf bekannt – aus Rücksicht auf die Queen aber nicht in die Öffentlichkeit getragen. Margaret Thatcher tat dies 15 Jahre später.
Thursday, 22.11.2012
19:00h
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: be they existential, ethical, humanitarian, political, religious, economic, military or in terms of international law.
Presentation "Social Media tools in Times of Transition" (in English language) at 7.30pm:
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.
for sale: "sold out... for now", original revolution T-shirts from Cairo.
to see: collection of printed things, stamps, stickers and flyers
music and open bar with Ashraf Osman, Architect from Beirut, Lebanon / Switzerland.
concept: 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. Und dann zerfällt es wieder. Syrien ist ein Synonym geworden, für sich selbst und für alle Fragen, die gestellt werden, wenn die rote Linie überschritten wird: existentielle, ethische, humanitäre, politische, religiöse, wirtschaftliche, militärische, völkerrechtliche.
Beginn Präsentation "Soziale Medienwerkzeuge in Übergangszeiten" (in Englischer Sprache) um 19:30 Uhr:
Eine erste Spurensuche rund um Syrien führt über den Kampf um Information, Medialität und connectivity nach Ägypten. Muhammed Radwan Battut stammt aus Kairo und ist Ingenieur, Aktivist und Unternehmer für soziale Medien. Anhand von bewährten zugehörigkeits- und meinungsbildenden Mitteln wie Flyer, Sticker etc. erläutert Battuta die visualisierte Vielschichtigkeit der Ägyptischen Revolution und deren Sprache. Länder überschreitend werden parallel Internetplattformen für Information und Aktion benutzt, die neben Facebook und Ttwitter mit einfachen Bedienungs- und Benutzermodi arbeiten, wie Bambuser und Ushahidi. Battuta greift auf seine eigenen Erfahrungen auf der Strasse, in digitalen Räumen und dem Finanzmarkt zurück. Er spannt einen Bogen zu den Möglichkeiten sozialer Medienwerkzeuge in Übergangszeiten sowie deren Anwendungsbereiche – eine Kulturlandschaft zwischen Präsentation und Archiv; Eine seiner Thesen ist, dass die Schnelligkeit technischer Entwicklungen die Geschichte überholt.
Neben der Präsentation gibt es T-Shirts (sold out …… for now > Verkauf von original revolutionären T-Shirts aus Kairo) zu kaufen sowie eine Sammlung gedruckter Dinge, Briefmarken, Sticker und Flyer anzusehen. An der Bar legt Ashraf Osman, Architekt aus Beirut, lebt in der Schweiz, Musik auf.
Konzept Rayelle Niemann.
Die Veranstaltung wird am 25. November im Cabaret Voltaire.
The presentation will be continued on November 25th at Cabaret Voltaire.
Wednesday, 24.04.2013
19:00h
In der Gruppe "enmedio" (Barcelona) engagieren sich Künstler_innen, Grafiker_innen, Filmemacher_innen, Professor_innen u.a.
Sie diskutieren gemeinsam über die Funktion politischer Kunst, machen Veranstaltungen und politische Interventionen.
Anja Steidinger, selbst Mitglied von enmedio, stellt die Idee im Rahmen der Reihe "Praktiken der künstlerischen Intervention" der ZHdK vor.
"Videostill aus Fiesta en el INEM, enmedio 2009, Feier auf dem Arbeitsamt"
Das spanische Wort enmedio bedeutet «inmitten» und genau dort verortet sich die Gruppe: «inmitten». Inmitten der Kunst, inmitten des sozial-politischen Aktivismus, inmitten der Medien.
Vor 5 Jahren begannen sie mit Veranstaltungen, um gemeinsam über die politische Funktion von Kunst nachzudenken.
Und dann kam die Krise. Erst tauchte sie in Form einer allgemeinen Gemütsverfassung auf, und sie beschlossen auf diese Spezie von sozialer Traurigkeit mit einer Party zu antworten. Als Ort der Party wählten sie das Arbeitsamt, in ihm fanden sie alle Traurigkeit und soziale Angst vereint. Einige Zeit später verbreitete sich eine allgemeine Stimmung der Empörung (Indignación) im Land, die Zeit der besetzten Plätze und der 15M-Bewegung. Verschiedene Interventionen von enmedio folgten, eine aktuelle Kollaboration bilden die gemeinsamen Aktionen mit PAH (Plataforma de los Afectados por la Hipoteca).
Wednesday, 06.11.2013
19:00h
under my skin… under your skin
Screening Ladakh Arts and Media Organisation (LAMO), Leh-India
Indian artist Baptist Coehlo will present several videos out of the selection "under my skin... under your skin" (compiled by Lina Vincent Sunish). The selection will give a deeper insight in Coehlo's interests and art practice that is based on personal research with collaborations from various cultures, geographies and histories. These works begin to take on the form of human-shaped media-landscapes and often contend with conflict, emotion, culture, gender, history and the environment.
Corner College will open the kitchen at 7pm, screening starts at 7:30pm followed by a talk with Stefan Wagner. Please feel free to join us for a insight and chat with Baptist Coehlo. Talk in English language.
Thursday, 20.02.2014
19:00h
Sozial-, Aufwertungs- und Stadtmanagement - Urbane Sicherheitsarchitektur im 21. Jahrhundert
...
Im Rahmen von Miklós Klaus Rózsas Ausstellung "Beobachtung und Überwachung" präsentiert Walter Angst die neusten Überwachungstechnologien, die sich derzeit auf dem Markt befinden. Mit ihnen wird Sozial-, Aufwertungs- und Stadtmanagement ermöglicht und die Polizei für ihre neuen Aufgaben fit gemacht. Praxisbeispiele aus der Limmatmetropole Zürich lassen die die urbane Sicherheitsarchitektur des 21. Jahrhunderts, die Teil der Stadtentwicklung ist, deutlich werden. Walter Angst, Gemeinderatsmitglied der Stadt Zürich, nimmt damit den Faden seiner Präsentation Crash Kurs Marxismus von 2012 wieder auf und erzählt die Geschichte weiter.
Walter Angst will present the latest surveillance technologies available on the market. With these technological tools contemporary city management, which includes the development of neighborhoods and social surveillance, can be realized through the use of tactical police forces. Angst will show examples of this security management, using specific examples in Zurich. The presentation is part of the exhibition "Observing and Surveillance", exhibiting the dynamic shifts in surveillance techniques and technologies.
Saturday, 22.03.2014
11:00h
...
Monday, 28.04.2014
18:00h
Immediations – Urban Fabric, Infrastructure, Ecology
...
Immediations is an international transdiciplinary research network. From April 26-29 the EU-participants of the Partnership Research Grant Immediations: Art, Media, Event will experiment collaboratively investigating the notion of the urban fabric along questions of emergence, infrastructure, metamodelization, and ecology.
For the participants the urban fabric is a loose term pertaining to the interstices between infrastructures, materialities, cultural practices and their relation to artistic, architectural, design, and philosophical concerns. Coming from different backgrounds and sharing a strong interest in transversal and collaborative practices, they will engage in interventions, readings, cooking, living, meandering, writing and diagramming with the aim to articulate what we understand as urban fabric in the immediacy of emergent experience.
On April 28nd you are cordially invited to share our preliminary impressions, ideas, and insights. We consider our research as emergent and our structure as open – come and play with us! There will be presentations, discussions followed by an apéro.
Participants of the workshop are Jamie Allen (Copenhagen Institute of Interaction Design), Amélie Brisson-Darveau (IFCAR, ZHdK), Christoph Brunner (IFCAR, ZHdK), Nicole deBrabandere (IFCAR, ZHdK), Sher Doruff (Rietveld Academy, Amsterdam School of the Arts), Gerko Egert (Freie Universität Berlin), Jonas Fritsch (CAVI, PIT, Aarhus University), Victoria Gray (Chelsea College of Art and Design, University of the Arts, London), Thomas Markussen (Danish Centre for Design Research, Kolding School of Design), Stamatia Portanova (Naples, independent scholar), Bodil-Marie Stavning-Thomsen, (Department of Aesthetics and Communication, Aarhus University), Annette Svaneklink Jakobsen (Aarhus School of Architecture), Evelyn Wan (Utrecht University), Verena Ziegler (IAD, ZHdK).
Saturday, 03.05.2014
20:00h
...
Lia Perjovschi will discuss a few of her previous projects in context, the evolution of her practice and the changes it underwent as a result of various personal, social and political events, and how she ultimately reached the Knowledge Museum. The Knowledge Museum is a project in which Lia recycles all her other artistic projects including elements of her Contemporary Art Archive (CAA), the first archive of its kind in Romania. Like an architect, she presents a model - on a table, on the walls, or in a space - using diagrams from her interdisciplinary research. This research comes from books, reviews, the internet, and objects mainly in museum stores from around the globe (collected from 1999 until today and used for educational purposes). The Knowledge Museum comprises 7 departments: Earth, Body, Art, Culture, Knowledge, Science, and Universe. It is not 'The Museum', but rather a basic starting point. Knowledge is Surviving (doing the best you can out of what you have).
Lia Perjovschis presentation is coming along with the exhibition DRAWING PROTEST of her husband Dan Perjovschi at Shedhalle Zürich opening at May 8th organized by Olga Stefan.
Thursday, 15.05.2014
20:00h
Holidays after the Fall. Seaside Architecture and Urbanism in Bulgaria and Croatia
Haludovo Malinska
Die sonnigen Küsten Bulgariens und Kroatiens verwandeln sich in der Sommersaison in intensiv genutzte, hochverdichtete Landschaften der Tourismusindustrie. Dieses Buch verfolgt die unterschiedlichen räumlichen und architektonischen Strategien, mit denen die großmaßstäblichen Ferienarchitekturen in den 1950er Jahren entstanden und bis in die Gegenwart weiterentwickelt wurden. Es zeigt (spät-)moderne Ferienarchitekturen und Resorts von beeindruckender Qualität und typologischer Vielfalt, die gleichzeitig als sozialistische Freizeiträume und marktfähige Produkte bestehen konnten. Vor allem aber untersucht es die Vielfalt ökonomischer und physischer Umgestaltungen, die dem Wechsel der Regime und der Privatisierung der Betriebe folgten: von ungenutzten Ruinen über behutsame Renovierungen bis hin zu exzessiven Überbauungen, an denen sich bis heute massiver öffentlicher Protest entzündet.
Haludovo Malinska
Each summer season, the sun-drenched coasts of Bulgaria and Croatia turn into densely inhabited, intensively exploited tourism industry hot spots. This book traces the various architectural and urban planning strategies that have been pursued there since the mid 1950s—first in order to create, and then to further develop, modern holiday destinations. It portrays (late) modern resorts of remarkable architectural quality and typological diversity that have lasted for decades: as anchors of the socialist states’ ‘social tourism’, as playground for domestic publics in search of recreation and as a viable product on the international holidays market. It shows how–after the fall of state socialism–individual resorts and outstanding buildings have been restructured both economically and physically and traces the present-day conflicts triggered by coastal development in the name of tourism.
Ruin of Yugoslav People’s Army children holiday resort at Krvavica, Dalmatia Photo © Wolfgang Thaler 2009
More information about the publication "Holidays after the Fall. Seaside Architecture and Urbanism in Bulgaria and Croatia" here.
Tuesday, 03.06.2014
20:00h
What is Contemporary Art in the Gulf?
"HANDLUNGSBEREITSCHAFT" MARIAM HAJI & ALESSANDRO RAUSCHMANN, KINGDOM OF BAHRAIN, 2010
The presentation will give an insight in the cultural art practices in Bahrain, United Arab Emirates and Qatar. It includes examples from emerged and immerging artists within these regions and discuss their culturally driven motives for visual expression and their artistic processes.
The presentation also focuses on comparing the differences in education and inspiration between artists from the Gulf and from Europe, while shortly discussing a segment on the hyper economically driven Art Market within the Gulf.
Monday, 16.06.2014
20:00h
Erich Berger and Martin Howse in The Curie’s Children [glow boys, radon daughters] workshop (Foto Liisa Louhela)
We are living in a technologically informed world. Our life takes place in hybrid space merging the physical and virtual. As we continue to develop and use technologies which now also include the manipulation of the living we are challenged to rethink our concepts and relations to the environment we inhabit.
Erich Berger and Yashas Shetty will give two lectures about their current work. Wawies Wisnu Wisdianto from Lifepatch (Indonesia) will also be present and briefly introduce their activities in Yogyakarta, as they have already been discussed at the last edition of HSC#1. Lifepatch has just received the Honorary Mention from Prix Ars Electronica,
Finde more infos here
We are looking forward to seeing you.
The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.
Monday, 18.08.2014
20:00h
Waterbar
Artist Marc Böhlen will present recent projects in experimental resource management that combine technical and urban interventions. In particular the care of recreational and essential water resources will be addressed through a discussion of WaterBar, a system that creates mineralized water in response to bad water news and WaterBank, a water analysis and fresh water distribution system designed for the Terban district of Yogyakarta, Indonesia.
Der Künstler Marc Böhlen präsentiert zwei neue Projekte zum Thema Ressourcen Design, Urbanität und Biosensorik. Bei WaterBar geht es darum, zukünftige Szenarien von öffentlichem Trinkwasserangeboten zu erproben. Bei WaterBank hingegen geht es darum, mittels Biosensorik Wasserverseuchung frühzeitig zu erkennen und zugleich alternative Trinkquellen anzubieten. Eine erste Version von WaterBank wurde kürzlich in Terban, Yogyakarta, Indonesien gebaut.
The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.
Tuesday, 18.11.2014
18:00h
beginchar, endchar, bye.
Parametric type design, METAFONT and Metaflop
Seit über 45 Jahren zeichnnet man digitale Schriften mit Outlines. Diese als Standard geltende Technologie ermöglicht eine von Endgrösse und der Auflösung unabhängige Darstellung von Schriftzeichen. Obwohl Outlinefonts ausgereift sind und gute Resultate für Web und Druck liefern, sind sie von Natur aus unflexibel. In den 90er Jahren war die Suche nach Nachfolgetechnologien von Outlinefonts ein viel diskutiertes Thema in der Forschung und der Schriftgestaltung. Leider gelang es aber keiner der neu entwickelten Methoden wie Multiple Master oder parametrische Schriften, die Outlinefont-Technologie in der Praxis abzulösen. Seither ist das Interesse von Akademikern und Designern an Type Design Software rapide gesunken und erst seit Kurzem wieder erwacht.
Wir geben eine Einführung in die Font-Programmiersprache namens METAFONT, welche vom Mathematiker Donald E. Knuth in den späten 70er Jahren entwickelt worden ist. Sie wird heute noch häufig in naturwissenschaftlichen Artikeln und Formelsätzen in Kombination mit dem Schriftsatzsystem TEX verwendet. In METAFONT können Schriftzeichen mit geometrischen Gleichungen beschrieben und deren Parameter stetig verändert werden.
Abschliessend präsentieren wir Metaflop, eine Webapplikation für die Modulation von METAFONTs und den Export in verschiedene Fontformate, inklusive OTFs und Webfonts.
...
The outline font technology has for over 45 years been established as the standard way to design typefaces, allowing characters to be represented independently of print size and resolution. Although outline fonts are mature and produce results of sufficient quality for professional online and printing needs, they are by their nature inflexible. In the 1990s, the topic of finding a successor to outline fonts was a hot topic of research and type related discussions. Unfortunately, none of the methods, such as Multiple Master or parametric fonts, were successful in replacing outline font technology and its field of use. Since then researchers and designers have rapidly lost interest in type design software, that only recently regains consciousness.
We revisit a parametric font format developed in the late 70s by Donald E. Knuth, which is still in use today and is called METAFONT. It is nowadays mostly used in combination with the typesetting system TEX. Characters in METAFONT can be built up using pen strokes defined by geometric equations, enabling several parameters to be varied continuously.
To conclude, we provide a discussion on parametric type design in the light of today’s web-centric technologies and present the open source web application Metaflop that is enabling users to modify METAFONT parameters and export the results to current type formats on the fly.
Thursday, 18.06.2015
20:00h
Werkpräsentation von Rachel Mayeri (L.A.)
(in Englisch)
Rachel Mayeri mit Carla
Rachel Mayeri ist eine in Los Angeles lebende Medienkünstlerin. Sie arbeitet an der Schnittstelle zwischen Kunst und Wissenschaft. Ihre Projekte erkunden die Geschichte von Special Effects bis hin zum menschlichen Tier. Die Videos und Installationen waren u.a. am Sundance Festival, der Berlinale, der Documenta 13, an der Ars Electronica, im Getty Museum oder im MoMA PS1 zu sehen.
Rachel Mayeri is a Los Angeles-based media artist working at the intersection of science and art. Her projects explore topics ranging from the history of special effects to the human animal. Her videos and installations have shown at Sundance, Berlinale, Documenta 13, Ars Electronica, The Getty Museum, and MoMA PS1.
Friday, 26.06.2015
19:00h
Werkpräsentation von Trevor Yeung (Hong Kong)
(in Englisch)
Trevor Yeung’s Encyclopedia
Trevor Yeung ist ein in Hong Kong lebender und arbeitender Künstler. Er schloss 2010 an der Academy of Visual Arts, HKBU in Hong Kong ab und ist zurzeit an einer Arbeit über Haustiere und der Rechtssituation von Tieren als Ausstellungselementen. Seine Arbeiten waren u.a. an der Art Basel Hong Kong, im Para Site in Hong Kong ode rim CAFA Art Museum Beijing zu sehen.
Trevor Yeung is a Hong Kong based artist born in Guangdong. He graduated 2010 from the Academy of Visual Arts, HKBU in Hong Kong and currently lives and works in Hong Kong. At present he’s researching on pet animal and the legal situation of animals in art spaces. His works were shown among other places at the Art Basel Hong Kong, Para Site in Hong Kong or at the CAFA Art Museum in Beijing.
Friday, 21.08.2015
20:00h
artellewa and the swiss connection
artellewa is an art space, founded and managed by visual artist Hamdy Reda since 2007. The space is located in Ard El Lewa, a densely populated informal area located between two of Cairo’s informal areas, Imbiba and Boulak El Dakrour. artellewa creates a space for the formation and activation of dialogue between artists and society; facilitates artists projects, offers workshops for community members and emerging artists, exhibits art and hosts artists-in-residence in addition to providing special projects to enrich the civic and cultural life in Ard El Lewa, and use art to improve the urban environment.
artellewa aims to create a space for reflection during this time of transition; a space for rejuvenation of ideas and progressive thought and connect Ard El Lewa and its inhabitants with the broader culture of the city and the world through art, and creates a unique opportunity for Egyptian and foreign artists to interact and experiment with the local community and environment.
artellewa creates a space for the formation and activation of dialogue between artists and society.
Tuesday, 08.09.2015
19:00h
Presentation and discussion with Viktor Misiano
Viktor Misiano is invited to Corner College in the context of his curatorial visit to Zurich for the upcoming project at the National Center for Contemporary Arts in Moscow about The Human Condition. As we have the opportunity to have Viktor Misiano with us, we would like to open a discussion on independent curatorial work, philosophical-social-political thoughts on independent practices of curating and writing, what it means to work independently, what role independent intellectuals could play in Russia and globally in relation to the concept of democracy.
Viktor Misiano is an independent curator, publisher, art theoretician and critic, living in Moscow.
From 1980 to 1990 he was a curator of contemporary art at the Pushkin National Museum of Fine Arts in Moscow. From 1992 to 1997 he was the director of the Center for Contemporary Art (CAC) in Moscow. He curated the Russian participation in the Istanbul Biennale (1992), the Venice Biennale (1995, 2003, and 2005), the São Paulo Biennale (2002, 2004), and the Valencia Biennale (2001). He was on the curatorial team for the Manifesta I in Rotterdam in 1996. In 1993 he was a founder of the Moscow Art Magazine (Moscow) and has been its editor-in-chief ever since; in 2003 he was a founder of the «Manifesta Journal: Journal of Contemporary Curatorship» (Amsterdam) and has been an editor there since 2011. In 2005 he curated the first Central Asian Pavilion at the Venice Biennale. In 2007 he realized the large scale exhibition project «Progressive Nostalgia: Art from the Former USSR» in the Centro per l’arte contemporanea, Prato (Italy); the Benaki Museum, Athens; KUMU, Tallinn and KIASMA, Helsinki.
He is a lecturer at the Nuova Academia Belle Arti (NABA), Milano and holds an honorary doctorate from the Helsinki University for Art and Design. In 2014 he published the book «Five Lectures of Curatorship» by AdMarginem Publishing, Moscow.
Misiano has collaborated with numerous art magazines, given lectures at The Royal College of Art (London, UK) and School of Visual Arts (New York City, USA) and numerous other universities and art schools, and curated a variety of art projects, internationally and in Moscow.
Friday, 13.11.2015
19:00h
MultiMadeira Artist Residency - Presentation & Performances
MultiMadeira is an unfunded artist residency taking place on Portuguese island Madeira. The 2015 edition will take place from end of November 2015 until end of February 2016. The residency is self-organized and open to artists working in all disciplines. Participants are asked to propose a project they will be working on during their stay.
The first edition was realized during the last two months of 2013. MultiMadeira has hosted a total of 38 artists working in various fields and with different geographical and cultural backgrounds. During the first edition, over 30 various public events including concerts, exhibitions, performances and workshops were held.
On Friday, 13 November Lukatoyboy (alias Luka Ivanović) - one of the co-founders of MultiMadeira - will present the residency at Corner College. He will be accompanied by Klara Ravat, MultiMadeira artist 2015, and Gretchen Blegen, MultiMadeira artist 2013. They will talk about the reasons, methods and achieved goals, focusing on realized works.
At 21:00h performances:
Gretchen Blegen & Vreni Spieser - Conversation Take.
A text-performance on conversation, cross-overs of narratives and language as a means of communication.
Lukatoyboy - The Final Instruction, Prologue
The Final Instruction aims to present the history of objectified personal how-to knowledge, its passages from Chevrolet Caprice, disadvantaged children and juice machines.
http://multimadeira.com
Thursday, 19.11.2015
19:00h -
Sunday, 29.11.2015
KUNSTASYL
Do I look like a refugee?
Opening hours:
Wed/Thu/Fri: 15:00h - 18:30h
Sat/Sun: 15:00h - 17:30h
[auf Deutsch siehe unten]
barbara caveng and Dachil Sado provide an overview over nine months of KUNSTASYL , a participatory model project of the artist living in Berlin, the team KUNSTASYL and the inhabitants of the home for those fled and for asylum seekers in Berlin-Spandau.
19-29 November, KUNSTASYL hats, Balkan pin curlers, sweatshirts and other objects on display for sale in support of and in solidarity with the project, as well as documentation.
Between Home and atHOME
The project investigates forms and possibilities of living together between locals and people who had to flee:
“It is not easy to speak of KUNSTASYL and its effects – it is a window between inhabitants and neighbors outside the home, and it changes the culture, the situation, and communication within society. It simply means civilization.”
dachil sado
Who is KUNSTASYL
KUNSTASYL is a participatory model project of the Swiss artist barbara caveng who lives in Berlin, together with the team KUNSTASYL and the inhabitants of the home for those who fled and for asylum seekers at Staakener Straße in Spandau.
KUNSTASYL is an initiative of creative workers and asylum seekers.
What is KUNSTASYL
Since February 2015 we, TEAM KUNSTASYL and the inhabitants of the home, together investigate and develop possibilities for those who fled / asylum seekers to shape their own LIVING – as opposed to ACCOMMODATION – and how the infrastructure at hand can be modified, complemented and extended in the spirit of self-responsible action.
In the focus is the question how it is possible for people who had to flee, to take part in the shaping of a space. The concept of SPACE is to be understood in a dual sense: Physical space is always also social space. The one who acts, takes part.
Over the past months, through the catalyzer of artistic work various courses of action were developed and tried out for turning the “fleeting” situation of those involved, characterized by isolation and incapacitation, into an “optional” situation. “Optional” means that the people become visible through their self-chosen doing, autonomous action and self-articulation.
After half a year of common work KUNSTASYL and the administration of the home have decided to found a project of their own, in which people who fled, and locals, live together from the beginning.
http://kunstasyl.net
[English see above]
KUNSTASYL
Seh ich aus wie ein Flüchtling?
barbara caveng und Dachil Sado geben einen Überblick über neun Monate KUNSTASYL , ein partizipatorisches Modellprojekt der in Berlin lebenden Schweizer Künstlerin, dem Team KUNSTASYL und den BewohnerInnen des Wohnheimes für Geflüchtete und Asylsuchende in Berlin-Spandau.
19.-29. November, Ausstellung mit KUNSTASYL Mützen, Balkan-Lockenwicklern, Sweatshirts und anderen Objekten, die zur Unterstützung und in Solidarität mit dem Projekt zum Verkauf angeboten werden, sowie Dokumentation des Projekts.
Zwischen Heim und daHEIM
Das Projekt untersucht Formen und Möglichkeiten eines gemeinsamen Lebens von Ortsansässigen und Menschen, die fliehen mussten:
„Es ist nicht einfach über das KUNSTASYL und seine Auswirkungen zu sprechen - es ist ein Fenster zwischen Bewohnern und Anwohner außerhalb des Heimes, und es verändert die Kultur, Situation, und die Kommunikation der Gemeinschaft. Es bedeute einfach Zivilisation.“
dachil sado
Wer ist KUNSTASYL
KUNSTASYL ist ein partizipatorisches Modellprojekt der in Berlin lebenden Schweizer Künstlerin barbara caveng zusammen mit dem Team KUNSTASYL und den BewohnerInnen des Wohnheimes für Geflüchtete und Asylsuchende Staakener Straße in Spandau.
KUNSTASYL ist ein Initiative von Kreativen und Asylsuchenden.
Was ist KUNSTASYL
Seit Februar 2015 erforschen und entwickeln das TEAM KUNSTASYL und die BewohnerInnen des Heimes gemeinsam Möglichkeiten, wie WOHNEN - im Gegensatz zur UNTERBRINGUNG - von Geflüchteten/ Asylsuchenden selbst mitgestaltet werden kann und wie die vorhandenen Strukturen im Sinne eigenverantwortlichen Handelns verändert, ergänzt und erweitert werden können.
Im Zentrum steht die Frage, wie es gelingen kann, Menschen, die fliehen mussten, an der Gestaltung von Raum zu beteiligen. Hierbei ist der Begriff RAUM in zweierlei Bedeutungen zu verstehen: Physischer Raum bedeutet immer auch sozialer Raum: Wer handelt, nimmt teil.
In den vergangenen Monaten wurden über den Katalysator der künstlerischen Arbeit unterschiedliche Handlungsstrategien entwickelt und ausprobiert, um die “flüchtige” Situation der Betroffenen, gekennzeichnet durch Isolation und Handlungsunfähigkeit, in eine “optionale” zu verwandeln. “Optional” bedeutet, dass der Mensch sichtbar wird durch selbstgewähltes Tun, autonome Handlung und die Artikulation seiner selbst.
Nach einem halben Jahr gemeinsamen Arbeitens haben sich KUNSTASYL und die Heimleitung dafür entschieden, ein eigenes Wohnprojekt zu gründen, in welchem Menschen, die geflohen sind und Ortsansässige von Anbeginn gemeinsam leben.
http://kunstasyl.net
Sunday, 13.12.2015
17:00h
The finest theories refuse to make sense;
It is said somewhere a lake has collapsed
Presentation by the curators Bénédicte le Pimpec and Isaline Vuille, together with the artists Uriel Orlow and Riikka Tauriainen, of the exhibition project darker and darker grows the landscape (la possibilité d'une île), as guests at the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
The three islands of the north are blocked with ice;
The finest theories refuse to make sense;
It is said somewhere a lake has collapsed
And dead continents rise back to the surface
-- Michel Houellebecq, The possibility of an island, 2005
darker and darker grows the landscape (la possibilité d'une île), exhibition view, 2015. Photo: Raphaëlle Mueller
The exhibition darker and darker grows the landscape (la possibilité d’une île) was organized last July by Bénédicte le Pimpec and Isaline Vuille at BAC – Bâtiment d’art contemporain in Geneva.
Most of the artists presented in the exhibition proceed by long-time investigation, whether in archives or on site, use anecdotes and details in order to set up new narratives. By focusing on human’s relations to nature and science, through the prism of botany, entomology, zoology and, more broadly, the natural sciences, they operate a change of focus and doing so they reveal wider contexts, they describe specific socio-political or historical situations.
After a short presentation of the exhibition project by the curators, Uriel Orlow will elaborate in a performance-lecture on his installation Grey, Green, Gold that enlightens a correlation between the history of a native South African plant and Nelson Mandela’s struggle against Apartheid. On her side, Riikka Tauriainen will do a performance-lecture updating on her research for her piece Contact zone that links together an Arctic expedition to the history of a major company and a science-fiction short story, and develops towards feminotopias and women travel writing.
Saturday, 14.05.2016
18:00h
Detail from the flyer for the exhibition. Graphic by Tim O. Haesler.
Public presentation of the outcome of the project Occasionally Human by the researcher and the participating artists and curators. With apéro.
A project by Francesca Brusa
Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann
Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz
Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa
The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org
Deborah Keller, Meine Wahl, ZĂĽritipp 19, 20 May 2016.
Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439
Thursday, 16.06.2016
19:00h
New Buenos Aires:
Tropical Babel: on a ruined mall stranded in Caracas
In the context of the group exhibition New Buenos Aires at Corner College.
Lateinamerikazentrum Zürich (Universität Zürich) and Corner College present
Tropical Babel: on a ruined mall stranded in Caracas
Celeste Olalquiaga (Proyecto Helicoide)
at Corner College
on 16 June 2016
at 19:00h, followed by a reception
El Helicoide de la Roca Tarpeya, Caracas, Venezuela.
Built in the 1960s as a futuristic shopping mall, El Helicoide de la Roca Tarpeya, in Caracas, Venezuela, would have been the most state-of-the-art shopping mall of the Americas, with a double helix of vehicular ramps aligned with high-end boutiques, exhibition centers and even a heliport. But El Helicoide was never finished and has been the site of multiple failed projects (including a bus terminal and a cemetery), massive informal occupations and, for the last thirty years, a police headquarters with political prisoners. How the building that was supposed to be the symbol of Venezuela modernity turned instead into one of this country's (and modernity's!) most emblematic failures make of El Helicoide an incredible story of soured ambitions, democratic betrayals, bankruptcy, evil spirits and more...
PROYECTO HELICOIDE is a non-profit organization dedicated to rescuing the architectural, cultural and social value of El Helicoide de la Roca Tarpeya in Caracas, Venezuela. Built as a spiraling drive-in mall between 1958 and 1961, El Helicoide was never finished. Its unique shape and peculiar history of abandonment, failed projects and police occupation make it a global icon of the contradictions of modernity.
Thursday, 23.06.2016
20:00h
In the context of the group exhibition New Buenos Aires at Corner College.
Screening of Legalillanalyzis by Andrea Éva Győri, video of a performance, 16:9, 2014.
Andrea Éva Győri and Mateo Chacon-Pino discuss with the audience.
Andrea Éva Győri, drawing.
The Art World somehow resembles the infamous Rabbit Hole through which Alice falls into Wonderland. The deeper you get, the more you find yourself in a strangely working world with its own logic and language, in which you have to adapt yourself and learn the proper vocabulary. Contrary to the Wonderland, the Art World is visible to the outside of it and some objects even become general knowledge. The Screening of Andrea Éva Győri's Video “Legalillanalyzis” (2014) shows how a political scientist presents Andrea's drawings without prior knowledge. Following up a group of experts will discuss how their supposedly naïve view on Art is perceived from the Art World and which conflicts arise in the discussion on Art through the fact of not being actively involved in the Art World.
Sunday, 31.07.2016
20:00h
Karol Radziszewski: Presentation of DIK Fagazine
DIK Fagazine, No 9, Czechoslovakia Issue (2014)
DIK Fagazine is the first and, so far, the only art magazine from Central and Eastern Europe concentrated on homosexuality and masculinity. It combines queer archival research with contemporary art contributions. Founded in 2005 by artist Karol Radziszewski. Currently designed by Martin Falck. The journal is based in Poland, published in English and distributed worldwide.
DIK Fagazine ist die erste und bisher einzige Kunstzeitschrift aus Zentral- und Osteuropa, die Homosexualität und Männlichkeit fokussiert. Sie verbindet Recherchen in Queerarchiven mit Beiträgen zeitgenössischer Kunst. 2005 vom Künstler Karol Radziszewski gegründet. Derzeit Design von Martin Falck. Das Journal ist in Polen angesiedelt und wird auf Englisch herausgegeben und weltweit verteilt.
http://dikfagazine.com/
Saturday, 16.12.2017
16:30h
Julius John Alam
Zurich Konversationen
With Mirjana Power, Nadja Baldini, Jeltje Gordon-Lennox, Dimitrina Sevova and Julius John Alam.
I am a Lahore based artist. I received a Bachelors of Fine Art degree from the National College of Arts, Lahore in 2013 and a Masters of Fine Art degree from Parsons the New School for Design in 2016, where I studied on a Fulbright Scholarship. I have exhibited at Participant Inc, New York, 1×1 Gallery, Dubai, 12 Gates, Philadelphia, Gallery of Light, DUCTAC, Dubai, Canvas Gallery, Karachi, Koel Gallery, Karachi, Sanat Initiative, Karachi, Taseer Art Gallery, Lahore, and Rohtas II, Lahore. I currently teach at the National College of Arts, Lahore and also contribute to various art publications.
In 2016, 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 2017 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: to ensure that a safe social space is created for the participant(s); and, to hold the psychological space for inner healing to take place.
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.zurichkonversationen.com) that I made exclusively for the project. 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 4:30PM.
Julius John Alam's residency and Zurich Konversationen are kindly supported by IG Rote Fabrik and Pro Helvetia - Swiss Arts Council.
Saturday, 10.03.2018
16:00h
eine Veranstaltung im Corner College, die Nicole Bachmann, Delphine Chapuis Schmitz, Nora Schmidt, Sally Schonfeldt, Axelle Stiefel, Martina-Sofie Wildberger und Dimitrina Sevova zusammenbringt, um ein kollaboratives Feld pluraler Performativität zu eröffnen, einschliesslich singulärer Interventionen, Filmvorführungen und Performances, danach eine Diskussion zwischen den Künstlerinnen, der Kuratorin und dem Publikum.
an event at Corner College that brings together Nicole Bachmann, Delphine Chapuis Schmitz, Nora Schmidt, Sally Schonfeldt, Axelle Stiefel, Martina-Sofie Wildberger, and Dimitrina Sevova to open up a collaborative field of plural performativity, encompassing singular interventions, screenings and performances and followed by a discussion between the artist, the curator and the audience.
[Text unten / Text below]
Nicole Bachmann
Personare Part II
Screening of the video documentation of the performance Personare Part II at Tenderpixel, London on 20 January 2018.
Nicole Bachmann, Personare, Part II, 20 January 2018, Tenderpixel, London. 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 gallery consists of a ground floor space and a lower ground floor gallery, connected with a tight staircase. 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.
Performed by Anna Procter, Patricia Langa and Sonya Frances Cullingford.
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.
Nora Schmidt
Journal/Blog (2011-today)
Reading with a selection of short texts from the artist's Journal/Blog (2011-today).
Nora Schmidt, Journal/Blog (2011-today). Ongoing web project
Sally Schonfeldt
On the Politics of Present Thought
Experimental film. 8′
Axelle Stiefel
Codex Operator
Sound performance. 20′
The Operator by Basic Publishing Strategy
Martina-Sofie Wildberger
I WANT TO SAY SOMETHING
Performance, Improvisation. About 13′
Text: Martina-Sofie Wildberger, I want to say something (printable as PDF, 17KB)
Martina-Sofie Wildberger, I WANT TO SAY SOMETHING, 2018, in the show KHAPALBHATI by Karl Holmqvist, Gavin Brown’s entreprise, Rome
Endless Conversation – Spacing! enacts a performative and conversational setup to test the aesthetic and political conditions of sharing, which inevitably involves an inoperative spacing, intervaling, and displacing. This in-betweenness is the condition of taking place and the mechanism of giving meaning. “Sharing is itself the origin,” wrote Jean-Luc Nancy in Being Singular Plural, sharing according to language exposes singular plurality to interrogate this openness toward the infinity of performative language games and endless scholarship – “the circulation of a meaning of the world that has no beginning or end”, which is the condition of every engaged and committed conversation from a being to a being.
With this event we are looking forward to the potentiality of a new performative that has to be continuously rehearsed, re-enacted, exercised, and practiced, sharing infinite language ‘conversations’ that go into affective registers and intensive qualities. Singular plurality lies at the heart of the discourse concerned with the political and aesthetic potentiality of language, into which this event intervenes, involving the somatic quality of voices and deconstructive/uncompleted gestures, inflections, movements of bodies and production of spaces – “or sometimes it takes place through a shift in tone or modulation of voice,” (Judith Butler) or just spacing, intervaling, displacing.
At the limit of presentation, the event tests how art is a matter of differing/deferring, a coming-into-presence involving “the simultaneity of all presences that are with regard to one another, where no one is for oneself, without being for others.” (Nancy) In Endless Conversation – Spacing!, presentation is distinct from the representation of art. With the live event and vivid conversation, it aims to reflect on art in terms of spacing / interval / displacement in the relation between the politics of language and embodied practices, “a certain displacement in time and space that constitutes the condition of knowing.” (Judith Butler) These dislocated elements of shared language produce other spaces of knowledge, with their particular aesthetics.
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. It further discusses and analyses, in close collaboration with the artists, how artists do things with words, textuality and space – a flux of art practices that generate ‘concepts in the wild,’ in the sense that they venture beyond the conformity of the well-known and of conventional representation into ambiguous space and unpredictable experiments, pursuing other avenues and producing temporalities and unexpected encounters. 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. This research is concerned with art practices and the artists’ process of making, rather than their representational contexts.
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.
Text: Dimitrina Sevova, 2018
This project is supported by a curatorial research grant of Pro Helvetia.
Sunday, 27.05.2018
18:00h
Turkey: Art in Troubled Times, 2018
An open talk with Asena Günal, Istanbul
Just now, the journalists of the government critical newspaper “Cumhuriyet” have been sentenced in an unprecedented politically induced trial and just now, the state of emergency in Turkey has been extended once again. Meanwhile, Osman Kavala, Turkey’s most important and influential civil society activist and philanthropist, has been in prison without charge since October 2017. What does this mean for artists and cultural producers in Turkey? And how has the art scene in Turkey changed since 2016 (the coup-d’etat), or shall we say, since 2013 (the Gezi protests)? And what can we understand about it and how can we help our colleagues in Turkey?
Asena Günal is the program coordinator of the art center Depo in Istanbul-Tophane. Depo is an initiative of Anadolu Kültür which was founded by Osman Kavala. She is concerned about the isolation Turkish art scene might face with the rise of authoritarianism. Depo is a space for critical debate and cultural exchange with a wide variety of international art exhibitions, screenings, talks and such and the first initiative in Turkey to focus on regional collaborations among Turkey and countries in the Caucasus, the Middle East and the Balkans. Asena Günal is also the co-founder of Siyah Bant, a platform that documents censorship incidents in the field of arts.
Asena Günal has studied International Relations and Sociology and obtained her PhD in the History of Modern Turkey program at the Atatürk Institute, Boğaziçi University. She previously worked as an editor in İletişim Publishing House between 1998 and 2005.
In this open talk, Asena Günal will speak about the current situation in Turkey and especially in Istanbul’s art scene, how does the state of emergency affect the artists, who is Osman Kavala and how does his detention and arrest intimidate the civil society and the art scene; she will also talk about the artistic programme at Depo and their resistance strategies.
An invitation by para polis/Anke Hoffmann in collaboration with Corner College/Dimitrina Sevova.