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Information, 9. Mai 2022 – 12. Februar 2023

Vorlesungsfreie Zeit Sommersemester 2022

Information, 18. Juli – 9. Oktober 2022

In liebevoller Erinnerung an Helke Bayrle (1941–2022)

Information, 14. September – 2. Oktober 2022

Die Mensa macht eine Pause!

Information, 19. September – 30. Oktober 2022

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Wintersemester 2022/23

Information, 10. Oktober 2022 – 10. Februar 2023

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GASTHOF 2022 "OPEN HOUSE"

Veranstaltung, 9. Juli 2022

Hassan Khan: The Infinite Hip-Hop Song Live!

Konzert, 9. Juli 2022, 21:30–22:45

Gasthof im Robert Johnson

Party, 7. Juli 2022, 22:00

Curatorial Studies Klasse 2021: Three course Menu

Ausstellung, 5. – 10. Juli 2022

MEDIUM RARE — Absolventenausstellung 2022

Ausstellung, 2. – 17. Juli 2022

ALMOST ALIVE—Absolventenausstellung Party

Veranstaltung, 1. Juli 2022, 23:00

Absolventenpreise

Information, 1. – 10. Juli 2022

Asad Raza "Diversion" im Portikus

Ausstellung, 25. Juni – 25. September 2022

Asad Raza: Metabolisms

Vortrag, 21. Juni 2022, 19:00

Anthony Huberman: Bang on a Can

Vortrag, 13. Juni 2022, 19:00

Sung Tieu: Ghosts In The Machine

Vortrag, 7. Juni 2022, 19:00

Lecture: ruangrupa

Vortrag, 31. Mai 2022, 19:00

Lecture: Neïl Beloufa

Vortrag, 10. Mai 2022, 19:00

Vortragsreihe Sommersemester 2022

Vortrag, 26. April – 28. Juni 2022, 19:00

Laura Huertas Millán: Ethnographic fictions

Vortrag, 26. April 2022, 19:00

Sommersemester 2022

Information, 11. April – 15. Juli 2022

Daniel Birnbaum: Notes on the frames of art

Veranstaltung, 10. April 2022, 15:00–17:00

Jochen Lempert im Portikus

Ausstellung, 12. März – 5. Juni 2022

Vorlesungsfreie Zeit 2022

Information, 21. Februar – 10. April 2022

Rundgang-Preisträger*innen

Information, 18. – 20. Februar 2022

Judith Hopf Klasse: Grand Nizza Show

Class Project, 18. Februar – 11. März 2022

Rundgang 2022

Ausstellung, 18. – 20. Februar 2022, 10:00–20:00

Pan Daijing

Online Vortrag, 10. Februar 2022

Jordy Rosenberg: Lift Rift

Online Vortrag, 2. Februar 2022

Ulrike Müller: Moving More Parts

Online Vortrag, 25. Januar 2022

Park McArthur

Online Vortrag, 18. Januar 2022

Sam Durant: Public Discourse?

Online Vortrag, 11. Januar 2022

Screen grab of AGENDA (Video Essay) 2016. Courtesy: Amalia UlmanScreen grab of AGENDA (Video Essay) 2016. Courtesy: Amalia Ulman

Amalia Ulman: Privilege

Vortrag17. Januar 2017, 19:00Aula, Städelschule, Dürerstraße 10, 60596 Frankfurt am Main

Do it yourself. Deskilling and Reskilling in the Digital Techno Age.
Ringvorlesung Institut für Kunstkritik

Amalia Ulman: Privilege
Dienstag, 17. Januar 2017, 19 Uhr, Aula

 

AGENDA is Amalia Ulman’s latest staged lecture. 

Comprised of powerpoint presentation, live performance and sound effects it exposes the final narrative of the online performance Privilege and it’s two subsequent shows Labour Dance (Arcadia_Missa, London) and Reputation (New Galerie, Paris).

In AGENDA Ulman uses poetic language to narrate self experimentation with female hormones and the effects of excess estrogen in a body trapped between the carpeted floors and ceiling tiles of her DTLA office - a tight structure of vertical structures, linearity and clocks. This dreamlike storyline later develops into a series of cons and scams, economies of appearances and the rise and fall of Bob The Pigeon, an ode to a working class hero which finishes with pessimistic spiritual notes that the author recognizes as selfish, recognizing the entitlement of her nihilism, escapism and ability to complain to carry its own privilege—a position of criticality not accessible to all.

Amalia Ulman is an airport-based artist with an office in Downtown LA. Born in Argentina and raised in Spain, she studied Fine Arts at Central Saint Martins in London. Her works are primarily voiced in the first person, often blurring the distinction between the artist and object of study. Ulman explores the relationship between consumerism and identity, class imitation and social deception, altruism and empathy. 

Selected artworks include video essays like Annals of Private History (2015, Frieze Projects); and performances such as Excellences & Perfections archived by Rhizome the New Museum (New York) and exhibited at the Tate Modern and Whitechapel Gallery (London). Recent artworks include the performance Privilege and its three subsequent solo shows: Labour Dance (Arcadia_Missa, London), Reputation (New Galerie, Paris) and Dignity (James Fuentes, New York).

Der Vortrag findet in englischer Sprache statt.


Ringvorlesung Program:

Winter semester 2016/2017:
Julia Gelshorn (13. Dezember)
Rachel Haidu (14. Dezember)
Amalia Ulman (17. Januar)
John Roberts (18. Januar)

Summer semester 2016:
Lucy McKenzie (12. April)
Benjamin Buchloh (22. Juni)
Beatrice von Bismarck (23. Juni)

This lecture-series (conceptualized by Isabelle Graw) revolves around the question of artistic skills in a digital world. What do they actually consist of? While it always mattered how an artist performs herself since the Modern Age, it seems that the „Auftritt des Künstlers“ (Beatrice von Bismarck), namely, her public staging of herself, has become increasingly important in a Media Society. Has the modeling of her „personality“ turned into a skill that is required from her? Or should one rather argue that artistic practices still represent other competences, attitudes and ways of life that question the ideal of an entrepreneurial self? What have traditional skills been replaced by?

It seems that the deskilling of the arts that is usually associated with the „Duchamp-effect“ and post war practices allowed for a reskilling that is currently quite popular in the artworld. Is it a historical necessity that deskilling entails reskilling? Historically speaking, „deskilling“ was a male privilege in the 1950´s and 1960´s. Many male artists opted for anti-subjective aleatory procedures that rejected skills, whereas women artists practiced another form of deskilling in the 1970´s by reintroducing formerly devaluated, „female skills“ into their work. Could one argue, at least in retrospect, that it is precisely these lower or soft skills associated with the sphere of reproduction that are have risen to the status of a valuable resource in our New Economy?