It Girl 02 - Berühmt und berüchtigt (Die It Girl-Serie) (German Edition)

It Girl 02 - Berühmt und berüchtigt (Die It Girl-Serie) (German Edition) eBook: Cecily von Ziegesar, Eva Riekert: leondumoulin.nl: Kindle Store.
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Finissage Saturday, 23 June Changing representations of nature and cities: Curatorial text See Hinterland, Part 1. The metabolic fluids of our global surroundings are indeed best captured as pitch black, with an oily whiff that threatens to choke the air we breathe when we take the time to truly look into the ground beneath our feet. I wanted to illustrate this force, which is mainly used to produce electricity. 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. 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.

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.

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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.


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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.

Traumberuf It-Girl

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. 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.

NOWS archived | Institut für Raumexperimente

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. Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests.

Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity.

A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland. Veranstaltung im Corner College am 8. Die Einnahmen von der Bar gehen an die Druckkosten. Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch.

Zine-Vernissage und Auktion am 1. Mai im Corner College. The income from the bar will go towards the printing costs. Event at Corner College on 8 March at Street sounds, household noise, women trumpetists in the apartments. The thinking and feelings seem already now to buzz, as house walls and floors shake and crash. Bushes in the wind. Railing out the window, songs, poems and furious speeches reach the neighbors upstairs. Through air, so dominant, one can hear it, even the slightest sound!

Zine release and auction on 1 May at Corner College. Doors open A temporary video installation of The Judgment by Kosta Tonev will be on display all evening. Presentation by Kosta Tonev , and discussion with the artist Kosta Tonev The Judgment , dual-channel video, 4 min 44 sec. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it.

The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event. In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. They will then be transported to Corner College for a public mise a nu par un objet.

Corner College le public mis a nu par un objet This event is part of the exhibition project Theorem 4. Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later. Vadim Levin, Spirits Call. Aya Momose Exchange Diary In collaboration with Im Heung-soon.

Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images. Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator.

The other artist then watched the video, and added their own narration based on their impressions of the visual images. Invitiation card for the exhibition. Thursday, 2 March , Saturdays, 4 and 11 March , They will then be transported to Corner College for a public mis a nu par un objet. Corner College le public mis a nu par un objet Sunday, 19 March , The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K.

At the same time, it is haunted by a radical instability. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.

Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.

There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it. In Deleuze, they are transformed into the positive affirmation of No!

The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics.

Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth.


  • Australian Soils and Landscapes: An Illustrated Compendium.
  • Hyperion Records.
  • Theory of Plasticity.

    • We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters. Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders.

    There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices.

    The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision.

    But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse.

    One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest.

    This makes its psychological function all the more important: Improper Thinking by Daniel Kurjakovic in: The Great Western Possible , ed. Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen.

    The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. It is doubtful whether this course ever took place. During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy.

    This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: In the space, a mechanical theatre was developed.

    The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions.

    From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it.

    I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness?

    What is Kobo Super Points?

    How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning.

    The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries.

    An orientation device Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The panel discussion will be held in German and in English.

    Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden?

    Psychoanalytischen Praktiken folgend, schliesst das Projekt Part I: Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen? Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy.

    The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. What is the role of the studio in the urban fabric and how is its public support planned?

    What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today? How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life.

    What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production. It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment.

    How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches.

    Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings. Milk and Honey Rupi Kaur. Billion Dollar Whale Tom Wright.

    The Power of Now Eckhart Tolle. Lethal White Robert Galbraith. Friend Request Laura Marshall. The Storey Treehouse Andy Griffiths. Homo Deus Yuval Noah Harari. Kingdom of Ash Sarah J. Little Fires Everywhere Celeste Ng.

    It Girl 02. Berühmt und berüchtigt

    The Clockmaker's Daughter Kate Morton. Lord of the Fleas Dav Pilkey. A Gentleman in Moscow Amor Towles. Why We Sleep Matthew Walker. Normal People Sally Rooney. Start With Why Simon Sinek. Your Body Louie Stowell. Nine Perfect Strangers Liane Moriarty.