Keller Easterling: Medium Design

Vortrag Architektur Klasse
Keller Easterling: Medium Design
Freitag, 27 Oktober 2017, 19 Uhr, Aula

A different habit of mind about design and politics might begin with one simple observation. Culture is very good at pointing to things and calling their name, but not so good at describing the interactivity or chemistry between things. While designers are good at designing buildings, they might also design the medium in which those buildings are suspended. The extended repertoire offers additional aesthetic pleasures and political capacities that may elevate the status of spatial variables in culture.

In medium design, the logics and rules for addressing problem are turned upside down or inside out. With a focus on ground instead of figure or field instead of object, medium can’t really be assessed by a name, shape or outline but rather by what might be called disposition—latent properties that unfold over time and territory, propensities within a context or potentials in relative position. That disposition, that agency in arrangement, like an operating system or a growth medium, decides what will live or die. In this matrix of activity where it is easier to detect, discrepancy, latency, temperament and indeterminacy, right answers are less important than unfolding or branching sequences of response that are not reliant on discrete events or solutions.

Benefitting from an artistic curiosity about reagents and spatial mixtures or spatial wiring, medium design suggests different organs of design or different ways to register the design imagination. Beyond buildings, master plans, declarations, laws, or standards, it considers the political powers of multipliers, switches or time released organs of interplay like bargains, chain reactions, ratchets. These are forms that might inflect populations of objects or set up relative potentials within them.

Medium Design is ever present in many disciplines. It learns from the work of Harold Innis or Marshall McLuhan about mass communication. But it is also something like the non-modern thinking that according to Bruno Latour steps out of its hierarchies and ultimates into a “as vast as China, and as little known.” It is related to the focus on disposition/dispositif /disposition that fascinates Michele Foucault, Giorgio Agamben, or Gilbert Ryle. It is attuned to reverberations of aesthetic practices in cultural networks about which Walter Benjamin or Jacques Rancière write. From J.J. Gibson, there is a sense of the affordances of things. Or from Gregory Bateson, there is a sense of temperament in the interplay of things.

At a moment of digital ubiquity, it may be easier to treat digital platforms as primary in contemporary innovation and to believe that, if coated with sensors in an internet of things, the stiff, dumb world will suddenly become responsive and “smart.” But the heavy lumpy components of space are themselves information systems that don’t really need digital devices to make them dance. As Gregory Bateson noted, a man a tree and an ax is an information system. So, since architecture and urbanism are making radical changes to the globalizing world, space may be an underexploited medium of innovation.

Bored with the rhetorical, the seminar meetings foreground actual experiments in medium design that attempt to leverage some heavy spatial consequences.

Keller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. Another recent book, Subtraction (Sternberg, 2014), considers building removal or how to put the development machine into reverse. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) and Organization Space: Landscapes, Highways and Houses in America (MIT, 1999). Her research and writing was included in the 2014 Venice Biennale, and will be included in the 2018 Biennale.
She lectures and exhibits internationally.

Der Vortrag findet in englischer Sprache statt.

Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes

Kollektion
Portikus XXX: Tobias Rehberger & Rirkrit Tiravanija: Dirty Dishes
Dienstag, 10. Oktober, 11 Uhr, Kleinmarkthalle

Dauer: 10.10.-14.10.2017
DI–FR ca. 11h – 18h
SA ca. 11h – 16h

Kleinmarkthalle
Hasengasse 5–7
60311 Frankfurt am Main

Tobias Rehberger arbeitet mit unterschiedlichsten Medien und schafft immer wieder Arbeiten und raumgreifende Installationen, die sich an der Grenze von Kunst, Design und Architektur bewegen. Seine Arbeiten lassen sich kaum kategorisieren und bestechen vor allem durch diese Vielfältigkeit. Rirkrit Tiravanija befasst sich mit sozialen Fragestellungen und sein Werk nimmt häufig die Form von sozialen Happenings an und findet z. B. einen Ausdruck in Kochveranstaltungen, Lesungen oder Konzerten. Dabei geht es immer auch um die Teilnehmenden, die aktiver Teil der Arbeit werden und das Werk des Künstlers mitprägen. Für Portikus XXX realisieren die beiden Künstler ein Projekt, das die Praktiken beider in den Vordergrund bringt und dabei mit lokalen Erzeugern arbeitet. In der Kleinmarkthalle werden Rehberger und Tiravanija vom 10. bis 14. Oktober 2017 eine limitierte Auflage von Keramik-Unikaten präsentieren, die erworben werden können. Teil der Keramiken sind dabei immer unterschiedliche Gerichte, welche die beiden Künstler vor Ort aus Produkten der Kleinmarkthalle zubereiten.

Tobias Rehberger (*1966 in Esslingen am Neckar, lebt und arbeitet in Frankfurt am Main, DE)

Rirkrit Tiravanija (*1961 in Buenos Aires, AR, lebt und arbeitet in New York, US; Berlin, DE und Chiang Mai, THA)

English:
http://www.portikus.de/en/exhibitions/208g_portikus_xxx


Portikus XXX
Der Portikus wird 30 Jahre alt. Als kleine Kunsthalle an der Schönen Aussicht 1987 gegründet, ging es über das Leinwandhaus auf die Maininsel. Portikus XXX nennt sich unser Jubiläumsprojekt, das nicht zurückschaut, sondern einfach weitermacht, und das nicht im Portikus selber sondern in der Stadt, die für den Portikus so wichtig ist: Frankfurt am Main. Mit kleinen Gesten, gezielten Eingriffen bis hin zu großen Interventionen verlassen wir unsere Räume und präsentieren neue Arbeiten an Orten, die das Stadtbild prägen. Und so richtet sich Portikus XXX an ein Publikum, das stets interessiert ist und gleichzeitig führen wir fort, was wir auch die letzten Jahre machten: Ausstellungen, die anregen, Sichtweisen erweitern, und Fragen stellen.

Portikus XXX wurde anlässlich der Jubiläen 200 Jahre Städelschule – 30 Jahre Portikus ermöglicht durch die großzügige Unterstützung von Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, Stiftung Polytechnische Gesellschaft Frankfurt am Main, Hans und Annemarie Weidmann-Stiftung, Städelschule Portikus e.V.

Eintritt frei. 

Portikus XXX Summer Screenings: Non-work

Filmvorführung
Portikus XXX Summer Screenings: Non-work
Mittwoch, 16. August 2017, 21 Uhr, Portikus Maininsel

The fifth and final session, titled Non-work, will feature works by Helke Bayrle, Morgan Fisher, and Frances Stark.

What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.

In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.

The Portikus XXX summer screenings are programmed by Levi Easterbrooks. 

Veranstaltung findet in englischer Sprache statt.
Eintritt frei.


Portikus XXX – 30 Jahre Portikus: Anne Speier

Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Anne Speier
Donnerstag, 20. Juli 2017, 17 Uhr, Hotel Fleming’s Selection, Eschenheimer Tor 2

In her work, Speier employs different techniques to deal with contemporary questions of art production. The intricacy of her work is reflected in the medium of the collage, which is processed digitally as an expression of the contemporary. The artist addresses her own location in the field of art as the subject of everyday situations.

In a new sculpture, Anne Speier has created a primate that viewers encounter hanging from the ceiling. The pose of the orangutan suggests fear and a corresponding defensive stance. However, there is nothing signifying what else is going on in the room. Is the orang-utan just imagining reasons for his posture? Is he pulling away from us visitors? As a work of art, the animal becomes the projection surface, which can play various roles in its attribution as a primate. Beyond pop culture references, Speier’s sculpture raises questions about identity – that of the object and our own confronted by it. The stairway becomes a stage, drawing attention to the sculpture and making it possible to see it from different angles. The rope can be read as a multi-story guideline.

The collaboration between Anne Speier and the Fleming's Hotel takes place within the framework of the 30th anniversary of Portikus.

Eintritt frei.

Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction

Ausstellungseröffnung
Portikus XXX – 30 Jahre Portikus: Shannon Bool & Pure Fiction
Dienstag, 18. Juli 2017, 17 Uhr, Dom St. Bartholomäus

Portikus is turning thirty. Founded as a small art space on Schöne Aussicht in 1987, we moved from there to the Leinwandhaus and then to the Maininsel. Portikus XXX is the name of our anniversary project that doesn’t look back, but simply keeps moving ahead, not inside Portikus itself, but in the city so important to us: Frankfurt am Main. We leave our space and, with small gestures and major interventions, present new works in urban places that shape the cityscape. In this way, Portikus XXX addresses a broad audience while, at the same time, we continue to do what we’ve been doing in recent years: making exhibitions that stimulate, expand perspectives and ask questions.

Over the course of the summer, Portikus will in collaboration with various internationally renowned artists intervene in the public space of Frankfurt am Main. The inaugurate opening is pleased to have worked with Shannon Bool in the Dom as well the fiction class led by Marc von Schlegell. Further openings are to be announced soon.

Double Opening, 18th of July

Shannon Bool
18.07.2017, 17h
at / im
Dom St. Bartholomäus
Domplatz 1
60311 Frankfurt am Main

Details:
http://www.portikus.de/en/exhibitions/208a_portikus_xxx

Pure Fiction
Reading / Lesung
18.07.2017, 20h
at / im
Le Méridien Frankfurt Hotel
Wiesenhüttenplatz 28–38
60329 Frankfurt am Main

Details:
http://www.portikus.de/en/exhibitions/208b_portikus_xxx

Eintritt Frei.

Portikus XXX: Summer screenings

Filmvorführung
Portikus XXX: Summer screenings
Mittwoch, 19. Juli 2017, 21 Uhr, Portikus Maininsel

Filming Lack
Featuring videos by Martha Rosler and Thirteen Black Cats

What might a minor history of Portikus told through video look like? Helke Bayrle’s Portikus Under Construction gives this history its images, building an institutional memory and body of artworks out of what is almost always erased and obfuscated: work left outside of finalized and public-facing installations within the main gallery. Though the artworks in this screening program are by no means minor in and of themselves, they work outside of the limits of these artists’ previous contributions to the exhibitionary legacy of Portikus. Almost none of these films and videos have been shown within the galleries of Portikus before, yet they provide a vehicle for reflection through their addition and deviation.

In an effort to let these relations permeate the methods of this program, groupings of films and videos will together assert the value of lack, the uncertain, the secondary, the obscured, the forgotten, and the unclassifiable. This project attempts to build a minor history of Portikus, inspired by Bayrle, from these foggy positions.

Wednesday the 19th of July will be the first of a series of screenings at Portikus.
The dates for upcoming screenings will follow soon and for more information, please visit the webpage.

Veranstaltung findet in englischer Sprache statt.
Eintritt frei. 

Susanne Kriemann: through an evening, dark in a monochrome, near perfect way

Vortrag
Susanne Kriemann: through an evening, dark in a monochrome, near perfect way
Dienstag, 11. Juli 2017, 19 Uhr, Aula

Susanne Kriemann will talk about her recent projects, amongst others the work shown in the Slide Show exhibition at Portikus this spring. Kriemann’s artistic practice is characterized by an extended concept of photography, where recording as a photographic principle is studied under the aspects of temporality and material processability within specific social-historical contexts.

Susanne Kriemann, born 1972 in Erlangen, Germany, is an artist living and working in Berlin. She is professor for artistic photography at University of Design in Karlsruhe and a long-term advisor at the Jan Van Eyck Academy in Maastricht (NL), where she continues her on-going exploration of research and artist practice. Together with Aleksander Komarov, she founded the artist initiative AIR Berlin Alexanderplatz (www.airberlinalexanderplatz.de). The works of Susanne Kriemann are represented by Galerie Wilfried Lentz, Rotterdam and Galerie RaebervonStenglin, Zürich (2009-2016). Kriemann also publishes artist books, that are testaments to her overarching concern with historiography—how history is written, read, and rewritten—and the connections that can be found between art, literature, and archaeology.

Der Vortrag findet in englischer Sprache statt.

Stephan Dillemuth: Corporate Rokoko

Vortrag
Stephan Dillemuth: Corporate Rokoko
Donnerstag, 6. Juli 2017, 19 Uhr, Aula

Stephan Dillemuth talks about his recent work in relationship to bohemian research in the age of Corporate Rokoko.

Corporate Rokoko is a concept that was coined in the last years of the 20th century by Werner von Delmont to describe an aesthetic representation program that induced hallucination into dominating and powerful corporations.

Stephan Dillemuth studied at the art academies in Nuremberg, Düsseldorf, and Munich. He currently teaches at the Akademie der Bildenden Künste in Munich. From 1990 to 1994, Dillemuth together with Josef Strau, Nils Norman, Merlin Carpenter, and Kiron Khosla operated the space Friesenwall 120 in Cologne, then together with Hans-Christian Dany, UTV (Unser Fernsehsender / Our Television Channel. In 1995, there was the Summer Academy at the Kunstverein in Munich and the publications AKADEMIE and The Academy and the Corporate Public. Starting in 1997, his collaboration with Werner von Delmont resulted in various performances and the publication Corporate Rokoko. Since 2000 Dillemuth has had solo projects at venues such as Galerie Nagel Draxler (Cologne/Berlin), American Fine Art (New York), Galerie für Landschaftskunst (Hamburg), Reena Spaulings (New York), Galerie Éric Hussenot (Paris), Secession (Vienna), Konsthall C (Stockholm), Transmission Gallery (Glasgow), and Uma Certa Falta de Coerência (Porto).

Der Vortrag findet in englischer Sprache statt.

New Noveta: Angst und Arbeit

Vortrag
New Noveta: Angst und Arbeit
Dienstag, 4. Juli 2017, 19 Uhr, Aula

New Noveta is the collaborative project of Ellen Freed and Keira Fox, both based in London.

They most recently performed as part of the performance program at Liste, Rehearsing Intra-Activity, curated by Eva Birkenstock. In February this year they had a solo show and performance 'Violent Amurg' at Ludlow38, New York, and performed and exhibited as part of the show Site Visit at Kunstverein Freiburg, Germany. Amongst other places, they performed at Serralves Foundation in Porto as part of the program O Museu Como Performance (2015), Good Forever in Düsseldorf (2016), the Annual Bipolar Performers Meeting in Sopot, Poland (2017), and at Forde in Geneva (2016).

This lecture will be an overview of their processes and projects so far, displaying and discussing works spanning New Noveta's six year collaboration.

"Emotionally intense as they are, the sense of invasiveness to New Noveta’s works in fact heightens the schism between performer and audience. But to consider the group confrontational would be to mischaracterize a project intent on reproaching attitudes that otherwise pathologize ‘difference as illness’. For Fox and Freed, these procedures of normalization and diagnosis are endemic within high-pressure society, and New Noveta seeks to confront how public displays of anxiety, both symptom and vessel of control, are often perceived negatively" Saim Demicran.

Der Vortrag findet in englischer Sprache statt.