Städel Museum, Schaumainkai 63, 60596 Frankfurt am Main
Opening hours: Tue–Sun, 10am–6pm; Thu, 10am–9pm
Opening: Tuesday, July 15, 2025, 7pm–10pm
Today
Ongoing
Summer Semester 2025
Information, 22 April – 25 July 2025
Overture – Graduate Exhibition
Exhibition, 15 July – 10 August 2025, 19:00
Upcoming
Ana Janevski: Looping, Relaying and Echoing. Three Curatorial Strategies
Lecture, 16 July 2025, 19:00
Tanya Lukin Linklater: _structural_flex_
Lecture, 8 July 2025, 19:00
Florence Jung: Doing nothing?
Lecture, 24 June 2025, 19:00
Rabih Mroué: Shot/Counter Shot. Rethinking the Reverse
Lecture, 17 June 2025, 19:00
Adir Jan & Emrah Gökmen: On the Shores of the Munzur, on the Shores of the Murat
Concert, 12 June 2025, 20:00
Miloš Trakilović: Love Songs & War Machines
Lecture, 10 June 2025, 19:00
Anna Roberta Goetz: 36. Bienal de São Paulo. Not All Travellers Walk Roads / Of Humanity as Practice
Lecture, 3 June 2025, 19:00
Jimmy Robert
Lecture, 27 May 2025, 19:00
Klein: No Degree, No Budget, No Problem
Lecture (20.5.) Concert (21.5.), 20 – 21 May 2025
Julian Irlinger: Reanimation and Reconstruction
Lecture, 13 May 2025, 19:00
İmran Ayata & Bülent Kullukçu: Songs of Gastarbeiter
Music Lecture, 8 May 2025, 19:00
Enzo Camacho & Ami Lien: Langit Lupa (Heaven Earth)
Screening (5.5.) Lecture (6.5.), 5 – 6 May 2025, 19:00
Helen Marten: Animal Hours
Lecture, 29 April 2025, 19:00
Application: Master of Arts Program in CURATORIAL AND CRITICAL STUDIES
Application, 10 April – 31 May 2025
Semester Break Spring 2025
Information, 14 February – 21 April 2025
Water Cooler Talks 2025
Event, 8 – 9 February 2025
Rundgang 2025
Exhibition, 7 – 9 February 2025, 10:00–20:00
Trisha Donnelly
Lecture, 30 January 2025, 19:00
Kerstin Brätsch: Parasite Painting
Lecture, 28 January 2025, 19:00
Emma Enderby: Curating in and out of Place
Lecture, 14 January 2025, 19:00

Jimmie Durham: Rocks Encouraged
05.06.–01.08.2010
Jimmie Durham is a poet, performer, and visual artist. He himself describes his work as a depiction of the behaviors and norms of social interaction in different societies. In sculptures, assemblages, drawings, writings, and installations, he examines cultural behaviors, the use of nature, and his own standpoint vis-à-vis these phenomena.
At Portikus, Durham is showing a new work, an installation made of natural objects, the products of the petrifaction of wood. Although they look like stones, they are the results of biochemical processes. Stone is a material that plays a central role in Durham’s oeuvre; he has engaged it in numerous exhibitions, performances, and videos. The exhibition room itself has been lined with carpeting and insulating foam material, lending the situation in which these “stones” appear a peculiar intensity of focus. The Portikus, Durham says, is ideally suited to creating this particular situation: “I knew that one could do something highly concentrated. I bought the beautiful strange stones in Berlin, because I could not resist them …” Durham decided to admit no more than a single visitor to the room at any time to enable a mood of silence and utmost concentration to emerge. As Durham further remarks, “Then I had to think what to do with them that would not seem a desecration or either too simplistic, so I thought that making people experience them without jabber, without comparisons, without distractions … One person at a time; no matter how theatrical or impractical that might turn out …” As an additional element in the show, the visitor can read a poem written by Jimmy Durham himself: “I wanted the most thoughtful, meditative piece […]; even though it is also highly theatrical in a certain sense; and might add a necessary weight to the stones … I decided to be willing, as one must with poetry, to be confessional.”
Born to Cherokee parents in the U.S. in 1940, Jimmie Durham first emerged as an artist and writer during the 1960s. Having graduated from the École des Beaux-Arts, Geneva, in 1972, he first devoted himself entirely to political work with the American Indian Movement. He was a co-founder and director of the International Indian Treaty Council and its representative to the United Nations, where his work led to the adoption of the Declaration of the Rights of Indigenous People.
Besides essayistic and literary writings, Jimmie Durham has focused on creating a visual language for his art, which often describes the interrelation between architecture, monumentality, and history. In his anti-architecture performances and videos, for example, he tries to free the stone, the privileged material of architecture, from its metaphorical association with magnificence, stability, and durability. He uses stone to crush cars, demolish refrigerators, or squeeze paint from tubes. In his writings, he examines the vocabulary that is used to talk about art and other matters. The result is a critical reflection that takes stock also of its own entanglements.
We would like to thank the Hessische Kulturstiftung for its generous support.