First of all, I will discuss the essay as a form of critical knowledge as understood by Adorno and later developed by Ursula Biemann as a structure of complexity for the video-essay. Nuclear Utopia will be the focus of attention as the question of utopia, which is explored in a specific context of Soviet Union history in relation to individual experience, addresses the central aspect of debate surrounding the essayistic, thus challenging a mode of thinking that proceeds from objectivity.
What does her specific mode of the essayistic contribute to the understanding of the topic she is dealing with?
The essay as structure of critical and complex thinking: Research into the essay-film is a relatively new field and an agreed definition has not yet emerged. The debate has unfolded on several levels concerning the question of genre, intermediality, the essay-film as film theory, and the essayistic as a structure of producing critical knowledge. As a distinct genre the essay goes back to 16th century philosopher Michel de Montaigne, who devised it as a form for testing subjectivity, ideas and society by weighting thoughts.
With shifting emphasis, the essay was influential for a variety of critics in later centuries such as De Sade, Ralph W. Emerson or Friedrich Nietzsche. Adorno and Roland Barthes, who elaborated it in different directions as a genre between literature and philosophy. Most relevant for the discussion of the potential of the essay for critical thinking is Theodor W. Adorno text The Essay as Form For him, it allowed a complex and self-reflective approach to any given topic, opposing methods of rational logic, established by Descartes for scientific knowledge in the empirical tradition.
The basic function of the essay, for Adorno, is to criticize any form of knowledge that is conceived as objective or naturally given and therefore, in his eyes, ideological. For him, the critical potential of the essay lies in its ability to reveal the ideological framework of every conception and thus fosters doubt as to the very method of thinking. This is achieved because the essay introduces a form of knowledge which is self-reflective, relative, open, fragmentary, associative, or even antagonistic as opposed to total and systematic.
For Adorno, knowledge in the essay is considered as a form of interpretation. Subjective in its focus, it exposes any claim to objectivity. It is a cautious, tentative mode of approach from a multitude of perspectives opposing the sharp-edged single focused analyses in rational science. Knowledge in the essayistic form is not logically deduced through a coherent argument in a chain of subordinated arguments, but instead arises in a meandering network Geflecht comparable to the movement of thoughts.
The elements within an essay are loosely arranged. They have alternating effects on each other and generate, as it were, fields of forces Kraftfelder that overlap. Knowledge in this form is only possible in the particular not as a general conclusion. It is this structure of non-identity, which ensures that meaning is still possible, although only partially and fragmented. As the mode of an emancipated intellect it is ceaselessly self-reflective and thus avoids complete arbitrariness.
The artist and filmmaker Ursula Biemann has recently described the video-essay as a contemporary form for organizing complexity. For her, not empirical knowledge production, but a simple notion of the documentary practiced by mass media news reports is the source of ideological thinking. For Biemann, it is this illusory belief in a simple and direct representation of reality, which the video-essay, has to oppose.
It does not aim to gather facts, but is concerned with capturing the multiple layers of an event, so that it is able to create complexity. On a technical level, it is the combination of multiple, visual material, voices and sound tracks in non-linear editing, which contribute to complexity. In her video-essay Europlex, we can see how Biemann traces different groups of people using the border between Morocco and Spain to make their living. Her filmed documentaries of different border crossings, partly digitally manipulated and combined with statistics, present the viewer with the complex fabric of the borders to Europe.
Indeed, Timothy Corrigan, who defines the essay-film primarily as a critical construction of an unsettled subjectivity, sees the difference between a documentary and an essayistic practice precisely in the disclosure of subjective agency. Following this strand of thought, it is the voice-over commentary which creates a fragmented narrative and thus, for Biemann, distinguishes the video-essay from the documentary. It ties together the different sources of information in a non-linear string of reflections and thus contributes to a picture of complexity without surrender to random heterogeneity.
It also introduces a subjective and self-reflective perspective, which situates meaning in a specific subject and therefore resists any claim of abstract conclusion. As an agent for self reflectiveness the voice-over is constantly aware of the interpretative aspects of meaning production. In Europlex the voice-over, spoken by Biemann herself and recognisable by her distinctive accent, provides complex conclusions for what the camera observes.
This first example of the video-essay which introduces a fragmented and subjective narrative by the voice-over clearly guides the viewer. The Essay as random heterogeneity and radicalized deconstruction: For Hito Steyerl the essay has lost all this potential of generating complex understanding and critical knowledge. Critical engagement in this situation, for Steyerl, is only possible through alternative methods of production such as strategically deployed piracy or web collaboration. As a mode of disruption of knowledge, the essayistic generates a net of differences without a core or a centre that organises it.
The essay-film as an operation of deconstruction annihilates coherence. The author considers the method of discontinuous montage such as jump cuts or contrasting montage as the basic device for deconstruction in the essay-film as it destroys the illusion of producing coherence. For him, the subjects are constantly exposed to infinite deconstruction and limitless differentiation in such a society, so that they become heterogeneous in themselves.
The subject in dialectical materialism, in Groys eyes, is supposed to be constructed differently, comprising heterogeneity and its opposite identity without dissolving this paradox through deconstruction. In general, he compares the way this subject functions to the performance of the artist: it declares how things are to be, without objective reasoning or complete arbitrariness.
Catherine Lupton allows us to see this idea applied to practice. Following the conceptual discussion outlined above, it is the specific use of the voice-over in combination with the editing, which allows us to distinguish the self-reflective, complex and fragmented form of the essay from a random montage of heterogenic elements or a documentary.
Beginning with the examination of the thematic strands of the three pieces, we can see how the theme influences the voice-over. On a thematic level her video-essays Nuclear Utopia and Unnamed are investigations into the history of two unnamed towns built as secret settlements for the development and production of nuclear technology in the Soviet Union during the Cold War. Unnamed addresses and reflects upon the long suppressed nuclear disaster in the late s in the city where the artist grew up. As the video-essay develops, the representation of the disaster becomes a central metaphor for the 20th century.
As the multi-layered title suggests, this video-essay reflects on the question of how invisibility of both the history of the town and of a prototype disaster of the 20th century can gain a form of sensuous perceptibility so that it can be faced and considered. A similar secret settlement built in by the Soviets in satellite Estonia is the focus of Nuclear Utopia. On her journey to this place, the first person narrator is constantly reminded of her experience as child in such a town. As an enclave within an enclave, the unnamed town this time works as metaphor for the questionable premises of a fulfilled utopia.
In her most recent video, Particulate Matter, Popova develops the investigation into abstract ideas and looks into the structure of progress as the foundation of living conditions in Western Europe as opposed to China in their respective phases of industrialization. Here the more fragmented use of the essayistic journey provides a reflective space for the confrontation of East and West. Audibly set apart, there are three voices within the voice-over commentary, juxtaposing and echoing each other, addressing the failure of these underlying notions of progress to provide balance and well being for the people.
It is the male English voice which relates the linear time of the West to the idea of beginning and end as well as to the periodic table, the embodiment of a scientific comprehension of the world. The female voice with a Chinese accent, in turn, compares the circular model echoing the cycles of nature to the structure of the Taoist temple.
By pointing to the paradox of the suppressed trade unions in China and their political exploitation in other communist countries, she brings the notion of emancipation within communism into play, highlighting its failure to enable working people to shape their own living conditions. The different takes of the observing camera are filmed in various paces and different light conditions.
They form an uneven rhythm disrupting any illusory whole, preventing the viewer from becoming immersed into a coherent secondary reality and thus contrasting the suggestive mode of the propaganda footage introduced in Nuclear Utopia. These slightly shaking documentary images which constitute different proportions in each film, stress the relation with the hand of the filmmaker holding the camera, locating them within a subjective, bodily agent. Repeated single documentary takes stand out as metaphors or symbols.
They work as anchors of meaning within the flow of images. In Unnamed and Nuclear Utopia it is the swing, reminiscent of childhood, which is transformed through repetition into a symbol. In Particulate Matter the spiral shape of the Taoist temple is emphasized in contrast to the grid of modernist buildings.
This figurative use of images is expanded by motifs, physically created or specifically chosen by the artist for metaphoric reasons. In Unnamed the images of a kiln and melting in combination with a paper-folded constructions stand out as metaphors for underlying processes and the division of understanding and knowledge. A snow globe containing a worker, self-consciously marching, makes visible the artificial enclosure of the unnamed towns in Nuclear Utopia.
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In Particulate Matter it is a precarious tower of toy bricks which signifies the fragile stage of a society in danger of collapse. The documentary and metaphoric images are combined with footage from personal collection or historic archives introducing a wider dimension of the past. Filmed photographs of artworks provide a further level, reflecting the process of gaining visibility as fundamental to art. In irregular intervals, all these types of images, varying in proportion in each film, are introduced or followed by black frames that interrupt an illusory realism, marking out space for reflection.
The different documentary takes and the other types of images are combined in methods of discontinuous editing, such as hard cut or jump cut, thus constantly interrupting a simple mode of coherent representation. The documentary mode of representation which constitutes the majority of visual material in Nuclear Utopia is interspersed with a small number of figurative images and footage. Like islands in the sea, they form, , centers of attention within a structure of loose association, similar to what Adorno has described as fields of forces in the essay.
In all three films, one part of the commentary is spoken by a female voice with a Russian accent suggesting a relation to the filmmaker herself. In Unnamed and Nuclear Utopia, in which Popova addresses her personal history, this female voice delivers the entire commentary. In Nuclear Utopia oscillating between a factual and a personal mode of expression, the voice-over commentary interrogates the documentary approach of the camera for possible meaning while relating it to information, reflections, philosophical thoughts, doubts, personal comments and subjective memories.
It also takes on the function of entwining the different images and sounds into a provisional, fragmentary, self-reflective whole. In Particulate Matter this voice speaks only the part of the first person narrator. Here it is the arrangement of the recurring images which forms a kind of entity, characteristic for the essay as form. Popova, Russian in origin, herself appears in Unnamed and Nuclear Utopia, thus proving a possible embodiment for the voice in a particular, historical human being. In Unnamed we encounter her towards the end of the film, near the neoclassical rotunda, emphasising her own attachment to the past.
In Nuclear Utopia she stands in an iron blue sporty dress at the shore of the Baltic Sea looking beyond the horizon.
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Mittwoch, Vergangene und aktuelle gesellschaftliche Entwicklungen untersucht sie anhand von neuester Medientechnik, wie beispielsweise Drohnen, und visuellen Formeln und Bildtraditionen, wie etwa der Landschaftsmalerei oder dem Comic. Auch wenn die linearen Herstellungsprozesse unromantisch anmuten, liegt gerade in ihnen die Poesie der Arbeiten. Auf diese Weise zieht das Subjektive in die Arbeiten ein und wird in Details und Nuancen wahrnehmbar. Veranstaltung: Ein Licht im Dunkeln.
Heads , Stets verbindet sich mit den Werken von Monk die Zielsetzung, den Zitierten in respektvoller Weise Tribut zu zollen, wobei er deren Praxen genauso entmystifiziert. Der Vortrag findet in englischer Sprache statt. Eine Besonderheit des kap ist sein Teilnehmerkreis. Cameron Jamie hatte u. Ab dem Bis zum September , handelte. In Anlehnung an die im Jahrhundert ein klarer demokratischer Gedanke verbindet. Die Einmaligkeit ihres Schaffens hat Anderson in den letzten Jahren ein beachtliches Renommee eingebracht, sodass sie bereits einige wichtige Ausstellungsbeteiligungen verzeichnen kann.
Februar bis zum 4. Ein Film von Lothar Hempel , 4. Haas, 9. Sonntag, Rhodes, Rhodes — Or the Unpreparedness Promteheus and Pals, Performance for Synthesis and Organic Oscillators , Pietro Roccasalva. Not Now , In addition he pursues various long-term projects such as the production of a magazine not dissimilar to printed advertisement circulars. His use of formats not specific to art practice and his preference for everyday forms of action is characteristic of his work as much as the distance he consciously keeps to the type of expert artists, who, by repetition attain mastery in their specific technique and spread it throughout the art system.
In his polyglot and multi-formatted installations casually set gestures and an unconventional formalism condense into unpredictable spaces of projection. Die Arbeiten in der Ausstellung sind vorrangig aus einfachen Materialien und Baustoffen geformt. Ihr Blick auf die Welt ist ein transzendenzloser. Was hat der Architekt geplant? Ausstellungsbooklet A wavy line is drawn across the middle of the original plans.
The works in the exhibition are made primarily of simple building materials. They reflect everyday use. Their view of the world is without transcendence. They contrast the sublimity of minimalism with their pure physicality. Their source is the building kit, of which normality is constructed. At the level of reference, some of the works refer to semi-public or private spaces, as they provide contexts oriented to meaning for the construction of identity. The shifts that distinguish the works from their functional models can be minimal and yet convey skepticism.
The exhibition is interested in the link between the built environment and the ideas and programs formulated through it. Every product of formal design embodies the utopia of a space, in which it can appear in an ideal way. This abstractly planned space is always a political space at the same time, which defines certain orders and identities. This perspective also draws the gaze to the aspect of authority in both artistic and architectural productions, which became visible in the 20th century as the ambivalence of Modernism between emancipation and control, between empowerment and rationalization.
Omer Fast geb. Die pluralen Sichtweisen und Stimmen, die er so in seine Geschichten integrieren kann, negieren das Authentische. Sie funktioniert wie ein Nachbild zu Feet is the Best. Nostalgia ist eine dreiteilige Videoinstallation. Auch in den folgenden Videos der Arbeit beschreiben Schauspieler unterschiedlicher Figuren eben diese Schlingfalle.
Arend und Dr. The plurality of perspectives and voices he integrates into his stories in this way negate the authentic. His films are works on the possibilities and potentials of story-telling. The digital film, which is based on an interview by the artist with a former pilot, mixes documentary material with fictitious elements. The pilot evades the questions of the interviewer time and again and seeks refuge in the recounting of petty anecdotes. The images these stories conjure up in the film blend with our own imaginings of the war in the Middle East and those of Las Vegas.
Increasingly, the film focuses on the void between our own media-shaped assumptions and the traumatizing experiences of the pilot. A new slide and video work by Omer Fast has been installed in the basement of the Kunstverein. Her face was covered acts like an after-image of Feet is the Best. The video shows preparations for a film shoot just after a staged bomb explosion.
The images were filmed from the top of a crane in order for them to resemble the vantage point of a drone pilot. The voice-over of a drone pilot tells the story of how and why he receives orders to eliminate a woman. For the slide projection Omer Fast looked up phrases from this story in Google images. Some of the images from the search results are absurd and seem to be selected at random; others are a close fit to the actual story.
The images are like shadows of the story that seems to uncannily be made up of an everyday image reservoir. Nostalgia , a work made in , is a video installation in three parts. Based on an audio recording of a conversation with a refugee from Nigeria a story about illegal immigrants and the tightly controlled border between Africa and Europe develops. Nostalgia consists of a short documentary video, a two-display installation showing a staged interview situation between an African and a director and a science fiction set in the past picturing Europeans fleeing a ruined and insecure Europe for a safe Africa via an underground tunnelling network.
In the first part of Nostalgia the African interviewed by Omer Fast recounts how, when he was a child soldier, he was taught by a senior soldier to trap partridges. In the subsequent parts of the installation actors acting out different characters describe precisely this laying of the snare trap. The more the viewer penetrates the manifold perspectives and planes of reality the more the snare seems to close in on him. We cordially thank Dr. Arend and Dr. Das emanzipatorische Potential des Einzelnen und der Gesellschaft als Ganzes sowie die Rolle der Kultur in diesen Prozessen sind Themen, mit denen sich die Mitglieder der Gruppe sowohl gedanklich als auch in ihren Aktionen auseinandersetzen.
Der Name Chto Delat? Die Ausstellung Perestroika. Chto Delat? Das Kollektiv nahm bereits an Gruppenausstellungen in zahlreichen internationalen Institutionen wie dem New Museum, New York , der Einzelausstellungen waren u. Im Oktober wird Chto Delat? Die Chto Delat? The Russian collective Chto Delat? They combine political theory, art and activism in their manifold activities. The name Chto Delat? Vladimir Lenin later borrowed the name for his political concept. Collectivity is an essential element in the work of the group.
They rethink the past as well as the present status of the collective as a means for transforming both the production of an artwork as well as its reception. The exhibition Perestroika. Twenty years after: is the first solo show of the internationally renowned artist collective in Germany. The exhibition reflects the development of Russian society and economy after Perestroika, during which the Russian Federation was founded and the Soviet Union was dissolved in Drawn up as a reverse historical countdown the exhibition starts with a projection in the cinema of Tower: A Songspiel , produced in The audience is given an insight into a prominent public discussion in Saint Petersburg around the recent plans of Gazprom, the state-controlled energy company, to build the Okhta Center.
An installation in the exhibition hall brings together text- and drawing billboards as well as video works from different work periods of Chto Delat? The shaped forms seem at first to represent some characters from Russian fairy tales and historical national symbols, but they actually are transformed into their grotesque opposite and become sarcastic allegories of Russian social and political phenomena.
Finally the video film Perestroika-Songspiel. The Victory over the Coup looks back at the moment of the popular uprising and the triumphant victory of the democratic movement over the restorationist coup in August Although the time was filled with dreams and actions towards building the new society, the experiences of that time are reflected upon from a present perspective.
In October Chto Delat? The exhibition shows the latest video work by Chto Delat? Museum Songspiel recounts the story of a group of immigrants who seek refuge in a museum in order to escape deportation. On the occasion of the show the Chto delat? Er selbst singt und spielt Gitarre. Louis is based on the Concerto OP24 by Anton Webern but interjects the individual movements of the concerto with pop songs and compositions by Stephen Prina. Prina himself will sing and play the guitar. Akin to his other artistic works Prina bases the concert on a key composition of modernity and shows its influence on pop music.
The Ensemble focuses on cooperations with solo artists as well as on performances of their own compositions and works by other young composers. A brave new color, for a brave new world. Let the bold spirit of Honeysuckle infuse you, lift you and carry you through the year. Wie der Titel He was but a bad translation. Stephen Prina wurde in Galesburg, Illinois geboren. Er lebt und arbeitet in Cambridge, Massachusetts und Los Angeles. Translation processes between various artistic disciplines are key issues for the American artist who in his work continuously refers to other artists, architects, composers or filmmakers of modernity and pop culture.
He uses methods of conceptual art in his contemplation of architecture and music or draws on musical and pop-cultural means and perspectives for painting. Herein he anticipates misunderstandings and disappointments which flawed and incomplete translation processes of cultural codes trigger in the audience. At the same time he firmly involves the spectator by his fascination with visual details and precise spatial settings.
As suggested by the title He was but a bad translation. Stephen Prina was born in Galesburg, Illinois. He lives and works in Cambridge, Massachusetts and Los Angeles. Beside his artistic career Prina received a musical education and has since the s been a member of the experimental pop music band The Red Krayola. The film tells the story of the artist Gravity who earns an additional income for herself as a prostitute in New Zealand and later on joins an occult-scientific group.
Eventually she moves to New York to try and make her mis- fortune in the art world. Since she supports and publishes books by long neglected female authors like Kathy Acker and Eileen Myles with the Semiotext e publisher. In her own written work she deals with such wide ranging topics such as feminism and gender-politics, prostitution and philosophy. Lucie Stahl lebt in Wien. Die Ausstellung ist eine Kooperation mit der Stadtgalerie Schwaz. Prague-based artist Bela Kolarova began experimenting with photographic techniques in the early s, creating photograms and X-ray photographs that continued the Bauhaus tradition of photography as an abstract medium.
The works are annotated with brief text fragments in which Stahl humorously provides her subjective perspective on social and political events and on the competitiveness between artists and the almost-hysterical hype that characterises the art world. The juxtaposition of the texts and the spontaneously reproduced iconic objects creates a tension that has a distancing effect. Lucie Stahl lives and works in Vienna. She has also participated in exhibitions at the Temporary Gallery Cologne , the Croy Nielsen gallery in Berlin , and at kjubh in Cologne This exhibition was organised in cooperation with Stadtgalerie Schwaz.
Twenty Years After: , Her painting is institutional critique in the form of resolute action. She picks up on strategies of disillusionment from painters like Martin Kippenberger and Albert Oehlen and succinctly challenges the seductive patterns and expressive language of painting. While television still plays a part in determining our thinking, behaviour and actions as a matter of course, it is now also numbered among the things we no longer reflect upon by sheer force of habit.
Today however, the focus for artists seems to not be so much a question of the development of technical possibilities or even a critique of this homogenising, consumer-oriented mass medium. Instead, Forbidden Love: Art in the Wake of Television Camp will present artists who work with the structural conventions of television, using them for their own ends.
Like Warhol, these artists can knowingly utilise the rules of the attention-dependent economy, play with celebrity culture, and adopt the episodic structure of soaps, TV shows, music clips, or talk shows, turning them into something else. The exhibition includes artists who are not necessarily using their own transmission slot on television. Instead, like parasites, there are those that infiltrate existing TV with their own artistic concerns. One example is Mel Chin b. Having grown up with television, the younger artists in particular approach the medium from the position of the specialised viewer.
They pursue a fascination for the dethroning of the serious Sontag , for the stylistic howlers of image cultivation, and the opulence of surface splendour. As consumers of television, they return the ball to the opposing court and mirror the medium. The ambivalent and exclusive mechanisms of television, its ambiguous methods of communication and an attitude of expectation emerge particularly clearly in childlike role-playing, reflecting the desire for participation and an exaggerated cultivation of image.
Artists like Kalup Linzy b. In his videos, reflecting upon childhood experiences, Linzy performs all the female main characters, if notalso all supporting roles. Ryan Trecartin b. He blends stories and realities so much that they become quasi-abstract images. To give these various perspectives on television a framework Simon Denny b. His exhibition design works with the paradox that the television industry, being so strictly bound to the present, does not leave relics behind.
A combined catalogue will be published with both institutions. Der Film erkundet eine Welt, in der das Selbst auf seine physische Seite reduziert und unmittelbar den Anforderungen des Kapitals unterworfen ist. Wie auch in ihren letzten Videoarbeiten orientiert sich Gilligan mit der episodischen Struktur ihres Films am Medium Fernsehen. Jahrhundert diskutiert werden sollen. Jahrhunderts als engagierte Antwort auf die adeligen Salons entwickelt haben.
Bonner Kunstverein Juni — Juni, Juni — 5. Freitag, Donnerstag, 1. Wie sehen vergleichbare Institutionen im restlichen Europa aus? Und was zeichnet einen Kunstverein aus der Perspektive jener aus, die dieses Modell nur aus der Distanz kennen? Mittwoch, 7. Alexandra Bircken studierte Modedesign am Londoner St. In Gruppenausstellungen war sie u. Over the past few years, Bircken has developed an individual sculptural language that reveals a deep understanding of the materials she employs and a sensitive approach to both natural and artificial materials.
For her solo exhibition Blondie, Bircken developed freestanding sculptures, hanging objects and wall art from ropes, vintage clothing pieces, wood, concrete, articles used in daily life, hair and wool. The quintessential element within these works is the point at which a functional item is transformed into an aesthetic object or narrative microcosm. When Bircken, who first began her career as a fashion designer, started working as an artist in , her jewelry and clothing pieces began evolving into devious shapes and spatial designs and soon lost all semblance of gender specificity or even functionality.
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But she bucks this value judgment, focusing instead on the psychology at work behind the interplay of interaction and confrontation between wildly different materials that relate to a confusing set of pop cultural references. Her working methods place Bircken in the generation of younger artists that have very consciously chosen a formal artistic approach. The three prize-winners were chosen from 44 artists in whose work the investigation of the construction of historical facts is of central importance. It is striking that all the prize-winning artists engage in their work with the question of the construction of history, how and why it comes to be used today in the political but also the economic sphere.
They concentrate in their works on the historical document as the smallest common factor on which, seen from today, agreement can be reached. Dan Graham born is an influential figure in the field of contemporary art, both a practitioner and an art critic and theorist. Graham especially focuses on the relationship between artwork and viewer in his pieces.
Stets entwickelt er eine faszinierende Unmittelbarkeit durch seine schnellen und poetischen Monologe und seine direkte Ansprache des Publikums, in die er Dias, Objekte und Texte als demonstrative Werkzeuge seiner Geschichten einflicht. In Einzelausstellungen war er bereits u. He develops an intriguing immediacy through his fast and poetic monologues and includes slides, objects and texts in his performances as demonstrative tools of the stories, which he presents to the visitor mostly one-on-one.
He lately started to work in installations. His slide installations for example are complemented by the underlying voice of the artist commenting and fuelling the shown images. Man kann doch nicht immer nur lesen! Rilke hat das Recht, anders zu klingen. Ballett geht ohne Musik, und Blasmusik geht ohne Trompete. One can nevertheless not always only read! A doctor becomes a worm through the word. Rilke has the right to sound differently. Ballet goes without music, and brass-band music goes without trumpet. A lot is at stake — Lentz and Winter fight for each point.
Therefore the listener recognizes something again, which he did never see before. Michael Lentz born works as an author, musician, and performer. Since he has been president of the FreeAcademy of the Arts in Leipzig. In these performances Michael Lentz reads while two puppets in the background, played by Uli Winters, constantly comment on what he is saying. By intervening in the lecture situation the puppets poke fun at the reading situation and of the performer himself.
Pause… aus dem Jahre auf. Seit kurzem leitet Lengerer auch den mobilen Ausstellungsraum und das Verlagshaus Scriptings, das sich zurzeit in Amsterdam befindet. In his live performance Achim Lengerer refers to his preceding exhibition Blows into the microphone: Is it all right?
Diskriminierung und Homophobie heute
Pause… from , in which he re-enacts a lecture of the American filmmaker Hollis Frampton and his famous film Nostalgia and comments on its avant-gardistic refraction of word and image. Achim Lengerer born works with questions of language that he either thematises in his performances or spatialises within his installations. In the last years Lengerer founded different collaborative projects: labelfuerproduktion was initiated by Lengerer as a collaborative, process-oriented art project that presented performances, exhibitions and events at institutions like Kunsthalle Exnergasse, Vienna or Kunstverein Braunschweig.
The third long-term project, voiceoverhead is a collaboration with his artist colleague Dani Gal. Achim Lengerer has had various exhibitions and presentations at Kunstverein Braunschweig, Bonner Kunstverein, and others. Lengerer runs the travelling showroom and instant publishing house Scriptings — currently based in Amsterdam. His artistic work includes performances, videos and music productions.
Presented by Spex. After a long line of theoretical performances performed in an opera house, boxing ring, botanical gardens, on the internet, TV, radio, in the university amphitheatre, classroom, museum, gallery, paper and documenta 12 in Kassel, Walking Theory TkH shows its body for the last time. Its breasts, to be more precise.
TkH Walking Theory was founded as a research theoretical-artistic group in Belgrade in Main domain of the work of the TkH Platform is to encourage the development of contemporary performing arts practices and their critical discourses through the TkH Journal for Performing Arts Theory, educational projects, an on-line platform, and artistic and theoretical projects.
TkH Platform is also engaged in the cultural policy field and empowering of infrastructural and discoursive potentials of independent artistic and cultural initiatives. Dabei reagieren sie in ihren Arbeiten auf das aktuelle Kunstsystem, dessen Grenzen zwischen Produktion, Vermittlung und Kritik immer mehr verwischen.
Dass Lecture Performances nicht nur ein Thema in der Bildenden Kunst sind, sondern auch in der Choreographie, der Literatur, der Musik und der Wissenschaft diskutiert werden, wird an den Arbeiten evident. The lecture performance has become a feature of contemporary art. Various descriptions of the phenomenon have circulated over the past few years.
Artists in this comparatively young genre work at the interface between lecturing and performing, seeking out creative ways of including traditional methods of artistic communication in presenting themselves to an audience. The technique involves elements of self-reflection, discussion and performance. The exhibition also includes reference works — which provides inspiration for many young artists — in the form of videos and performance documentation by the V-Girls, Andrea Fraser, Martha Rosler and the French choreographer Xavier Le Roy.
Sie fragen nach aktuellen Vorstellungen von Community und Vergesellschaftung in der Stadt. The exhibition Everything, then, passes between us shows snap-shots of urban life. It asks how forms of public or of temporary communities can be produced nowadays. The artists question fragmentary aspects of metropolises in times of global turmoil and ask for actual ideas of community and collecti-vity in the cities.
Ihre unmittelbare Sprache und die Thematisierung kultureller, politischer und ethnographischer Werte durchdringen sich dabei gegenseitig. Die fragilen Skulpturen werden im hinteren Bereich des Raums um zwei Diaprojektionen erweitert. In der Bildfolge werden sie damit aber letztlich dynamisiert und in Bewegung gesetzt.
Zur Ausstellung erscheint eine Publikation. A direct language and the framing of cultural, political and ethnographic values are the parameters that mutually pervade in her works. For the exhibition room Nora Schultz has created an installation seizing fundamental sculptural questions.
The installation shows several chrome-plated pipes mounted firmly on the wall or hung on a rope. Like a mobile, they sometimes arrange themselves in a perfect balance resembling a set of scales, and sometimes they loose balance and seem to struggle for their position. Her works offer no well-balanced relation between calmness and motion, tension and relaxation, or bondage and liberty of the body. The ratio of carrier and self weight incurs imbalance.
Their texture suggests an association to the unfinished, to building and travelling. Two slide projections in the rear part of the room complement the fragile sculptures. The first series of slides records three-dimensional objects via two-dimensional photographies taken from different angles. The image sequence is consequently dynamised and put into motion. The abstract indications of an im balance of masses and values are translated into far-reaching cultural and political images. Schultz establishes associative references to the French author and ethnologist Michel Leiris who, in his travel journeys and essays, offers an unsparing self analysis and an open, immediate impression of his experiences with foreign cultures.
The rituals comment and parody European civilizations and show that there never is just one ruling point of view onto a subject, but that this point of view entirely is thrown back. Along with these new works, Nora Schultz shows further works corresponding with regards to content.
Her arrow sculpture can be read as a typographic two-dimensional emblem operating as cross-reference and, at the same time, as a real object and visualisation of an arrow projectile. The rebellious child defies all rules and educational methods of its parents and accomplishes acrobatic exercises on the chair. His attempt to balance on two chair legs fails and comes to a bad end. Left versus right projects of leadership in the global crisis more.
This chapter debates the future possibilities for global order and governance by mapping a political sociology of the current global crisis, and specifically the crisis of neoliberal capitalism. It looks at the political and class The chapter considers the prospects for several sets of long-term ruling strategies e.
These are explored as they are actually being developed by the different right and left agencies of global leadership, especially in the United States and in Germany. View on ebooks. Publication Date: Publication Name: junge Welt. Die Frage stellt sich: Ist aus der heutigen Formationskrise bereits ein neuer Kapitalismus entstanden? Post-democracy in Armenia? How the new Constitution will depoliticize Armenian society more. A conversation. Donald Trump's USA and global beggar-thy-neighbor capitalism] more. In an anti-establishment election in the midst of a deep crisis of representation, Donald Trump won the U.
His triumph raised the question of whether his realpolitik would lead to a shift towards economic nationalism, undermining the liberal framework if the international economic order and a structural transformation of globalization. His presidency allows us to study what the nationalist far-right actually does when it rules. To some, the trade war indicates such a shift in the international political economy based on selective protectionism and partial imperial retreat. On the contrary, Trump's economic and foreign policies embody a neo-Reaganite approach to intensifying world market integration, while his bilateral transactionalism is merely the strategy to achieve this particular goal.
Hence, Trump's economic approach is in fact a continuation of, not a rupture with, Barack Obama's foreign economic policy goals and merely radicalizes Obama's competitive-austerity approach in a global beggar-thy-neighbor capitalism. Der bilaterale Transaktionalismus ist lediglich ein anderer strategischer Ansatz zur Erreichung dieses Ziels. Kasseler Schriften zur Friedenspolitik.
Kassel: Jenior, pp. The Green New Deal, understood as a means to reestablishing US hegemony, has failed and given way to a global austerity turn. This has significant consequences for the ability of the US state to fully and hegemonically integrate China US foreign policy faces a dilemma.
On the one hand the financial dependence on China rule out direct confrontation, on the other hand the perpetuation of US hegemony depends on averting that the increasing regional integration in South East Asia emerges as a challenge to the US-dominated world economy and its monetary configuration.
Ingar Solty | Rosa Luxemburg Foundation - wisolyvahode.tk
The US are therefore pursuing a risky strategy that seeks to achieve its goals through utilizing existing tensions, most notably around the South China Sea, in order to increase US military presence in the region. The article contextualizes the current NATO intervention into the Libyan civil war in the debates about the new imperialism and the crisis of global capitalism. It poses the question as to whether it can be interpreted as an act of Based on an analysis of the political economy of Libya from decolonization to the contemporary Gadhafi regime, it argues that the integration of Libya into the world order of global capitalism had already occurred as an act of free will.
Therefore other reasons must have led to the hesitant decision to go to war. More Info: Pt. Strutynski, Peter Ed. Die Welt ist in Bewegung geraten. Quartal , S. Forces of Labor. Arbeiterbewegungen und Globalisierung seit [Forces of Labor. Labor Movements and Globalization since ] more. Labor Movement. View on pecritique. Stimmt das? Konzerne und "Steuermoral" [Corporations and Tax Evasion] more. Er sei kein Reformer, sondern spinne die Krise weiter Er sei kein Reformer, sondern spinne die Krise weiter. Aussenpolitisch steht das Weisse Haus zur Zeit angesichts der Kriegsvorbereitungen gegen Syrien wieder ganz vorne im Rampenlicht.
View on freie-radios. Arroganz der Weltmacht. War on Terror , U. View on ag-friedensforschung.
Theorie der sozialen Reproduktion: Zurück zu (welchem) Marx?
Libyen und der neue Imperialismus [Oil, Control, and Ideology. Libya and the New Imperialism] more. Social Theory, Political Theory and Marxism. A central pillar of contemporary conspiracy theories is the notion that all modern wars were secretely plotted and instigated by the Federal Reserve Bank.
In these circles, the founding of the so called "Creature from Jekyll Island" in Also right-wing libertarians critical of U. Republican presidential candidate Ron Paul have led a long struggle to "End the Fed" as his book is called , and signs to "End the Fed" could also be seen at demonstrations of the international Occupy movement leading to heated debates and confrontations.
Against these conspiracy theories and drawing on key American historians' debates, this paper scrutinizes the actual historical origins of the Federal Reserve Act and shows that the founding of the Federal Reserve took place not in a period of defeat but rather the advance of subaltern social forces and that the Federal Reserve Act is an embodiment of a historic compromise between various social classes and class fractions in the political economy of the United States prior to World War One. Drawing on the theoretical tradition of neo-Gramscianism, the paper argues that the emergence of a U.
In other words, the American Empire was not the result of a devious plan by an all-powerful American or transnational ruling class, but rather its Making was the consequence of a political process in which subaltern social forces, unable to fundamentally challenge the existing power structure as such, are co-opted, absorbed and inscribe themselves into that very structure. Progressive Era , Labor History U. History , Karl Marx , U.
View on inkrit. Karl Marx' Philosophie der Praxis. Geburtstags [Karl Marx's Philosophy of Praxis. On the Occasion of His th Birthday] more.