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Forgotten your password? Log In Via Your Institution. Purchase this article - DOI No access? Try this: Visit this page using campus wifi or a campus computer. Search for the article through your library website or visit the journal's indexing page to see alternative hosting platforms that you may have access to. Search Google Scholar for this article to see other full text versions. Related Content Search Find related content. Volume: 51, Issue: 4, pp. Karin Bauer and Jennifer Ruth Hosek. Volume: 51, Issue: 2, pp. Related Articles. Introduction: Scholarly Communication and German Studies.

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. In the slide projection the table becomes the main player.

Dieser so spannenden, weil unmittelbaren und dennoch zumeist verborgenen, Wirkungsgeschichte gilt es nachzuforschen. Sie wurden in verschiedenen Farben hergestellt und tragen das Datum ihrer Herstellung. In the exhibition room Seth Price presents his workson suspended wall panels.

Accompanying the paintings are vacuum-formed polystyrene reliefs with masks or facial imprints, looking like glamorous high-definition products. The reliefs have been produced in different colours and bear their date of production. The presentation is completed by a painterly video projection in form of a program loop showing a computer-animated sequence of black water in motion.

The video is based on a 5-second loop sold for business use, which Price purchased and treated with color and motion effects. Atmospheric as it is, the installation creates the impression of a journey through time during which the different handling and use of things, objects and pictures, is shown. Price manipulates found pictures, shows their changeability and their dependence on presentation and distribution structures and also makes his own manipulations visible.

The journey of a picture from the computer screen onto a canvas and vice versa can suddenly be experienced as a tightrope walk. He presents the reliefs as mere covers; they are negative form of the depicted objects and materialize only in their surface form. The materials Price has used in his video editions, and which reappear here in cut-up form, include manipulated film footage by Joan Jonas from the early s, a video by Martha Rosler that took up TV advertisements from , pictures from the Internet, and news footage from the assassination attempt on Ronald Reagan.

It is no longer discernable who is speaking, what is commented on, or what is inside and what is outside. Low-definition and high-definition material is equally juxtaposed. There is infinite access to and collisions of meaning and value systems. There is a plethora of choices and a surfeit of images within the cultural logic of late capitalism. Here, defined by media, image becomes material. A collaborative working method is of likewise importance to Seth Price.

Last year Seth Price received the award of the city of Lyon as a special award for his work at the Lyon Biennale. A monographic catalogue with a text by Michael Newman will be published in cooperation with the Kunsthalle Zurich. Starting point for the exhibition Many Challenges Lie Ahead in the Near Future are subconscious expectations that artists and the art coming from the Balkans encounter.

When it comes to artists from the Balkan countries, the question of origin seems very often more important than other aspects or questions that their art works deal with. During the last decade several well known exhibitions, among others I n den Schluchten des Balkan , Kunsthalle Fredericianum, Kassel, , Blut und Honig , Sammlung Essl, Vienna, , In Search of Balkania , Graz in , have presented contemporary artists from the Balkan region to a Western audience.

In such circumstances the question arises of how artists come to terms with these expectations. The four artists presented in this exhibition put the desired images at the core of their work and discuss their artistic position from there on. In his artist book Kissing the back of your hand makes the sound like a wounded bird he comments ironically on the never changing reception of his works on the basis of his origin.

The seductive way of editing, flirting with the aesthetics of silent movies, as well as his humorous approach prevents the story from becoming overdramatic. In his video Heroes Lulzim Zeqiri born in Gjilan, Kosovo solves a double problem of legitimation. On the one hand he deals with the question of his position as an artist within the European context, and on the other hand with the question of his position within the Kosovo society.

To solve the first question, Zeqiri offers an ironic, orientalistic staging of three musicians playing a traditional melody in traditional poses. On the other hand, he is aware that one is legitimized in Zeqiris own society by gaining recognition as national hero. This is why he lets the singers in their traditional song sing about contemporary artists from Kosovo instead of national heroes. Michael Krebber geb. Michael Krebber wurde stets als konzeptuell orientierter Maler gehandelt.

Alle diese Ideen, die entweder schlechte Witze sind oder einfach uninteressant, sind gestohlen oder von irgendwoher kopiert. The title of the exhibition, Puberty in Teaching , is at first sight paradoxical, since the two concepts, teaching and puberty, seem contradictory. Also implied is the question of whether it is possible to teach art at all and, if it is the case that there is no subject matter to teach, of how authority is then to be defined. Here Krebber is presenting a subject that is for him deeply serious, one which he has pursued passionately, and in which he is committed to an attitude which is in itself contradictory, indeed quasi pubertarian.

Michael Krebber born is one of the most influential artists working in Cologne, and we are delighted to be presenting his first exhibition in a major institution here in Cologne. Krebber plays an important role precisely for the younger generation of international artists, people like Merlin Carpenter, Sergej Jensen, Michael Beutler and John Kelsey. Michael Krebber was always viewed as a painter with a conceptual orientation. This label is applied to an oeuvre in which he has for more than 25 years been testing out the frontiers and possibilities of painting, without his work itself always appearing in the form of painting.

However attributing him to conceptualism diverts attention from the purely formal qualities of his work. The question arises of whether Krebber uses this type of attribution simply as a trick for his work at certain times, in which grasping or outreach and simultaneous rejection, false bottoms, dead ends and illusions are everywhere immanent. Exclusively sculptures are on show in the exhibition puberty in sculpture ; pieces of sawn-up surfboards as wall sculptures, and on the lawn in front of the Kunstverein an open air sculpture inspired by the HOLLYWOOD sign, displaying the words Herr Krebber in large letters.

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All these ideas are either from bad jokes, or are just plain uninteresting, or are stolen or copied from somewhere else. Surfboards, carved in slices like tuna-fish and hung on the wall like a Donald Judd sculpture, and the words Herr Krebber erected like a sign to attract buyers for a plot of land. These sculptures confront us with the weight and materiality which are required by object-based practice, requirements which can be avoided in teaching, philosophy and in other forms of mediation.

In this exhibition and in the book which accompanies it, the answer to the question of how Monsieur Teste would deal with these sculptures is put on hold. With the exhibition a special edition will be published: Michael Krebber, HiFly, , Surfboard slices, 12 Unique pieces, price, Euro each. Die internationale Jury des mit Fascinated by how the images on the screen seem to come to life, the artist talks about the transitions between two- and three-dimensionality and the relationship between object and image. It was transferred to16mm film and is presented on a pedestal, like a sculpture.

Williams walking through Regents Park in London, taking the same route that the artist uses to go to his studio every day. Mark Leckey will also use a zoetrope — a device that creates the illusion of moving images — to cause areproduction of the rooster figure in front of the Kunstverein building to appear to walk. Mark Leckey also took the publicity for the exhibition in hand. The vertical axis runs from the basement to the Theatersaal, presenting works in which Leckey considers the mechanisms of television.

The centre of attention is the cartoon figure Felix the Cat, which was used in the s as test pattern for the first television broadcasts in the USA. Leckey constructed a kind of film set for the cartoon figure on the stage of the Theatre space, recreating props from a photograph of the origianl set. A humerous 16mm Felix cartoon is shown in the cinema, and in the basement there is a sound sculpture in the shape of a heater which appears to fire the installation from below. In May Leckey will hold a live performance in the film set installation on the stage.

He will give a lecture on his ideas about the history of television, its significance and decay, and including the role of the BBC in this context. In the s, looking for new forms of expression in the medium, Leckey cut and manipulated music and found footage to make video-clips of his own. Today, however, image, film and television sequences have become easily and freely available on the Internet and the sampling technique has become a standard art form.

Leckey became known through his videos, but also for his work with the band Jack2Jack. Einzelausstellung: Seth Price , Dabei wird die Liebe selbst nicht als irrational betrachtet. Das Modelabel Bless stellt dazu das Exhibition Furnish. But love itself is not seen as irrational.

It is linked with uncountable political, aesthetical and desire-related projections, compositions and concepts. If one follows for example the theses and experiences of Roland Barthes, hypersensibility, transgression, prodigality, acceleration and deceleration as well as unforeseeable agitations against the functionalization and instrumentalisation of the subject are common acts and experiences of lovers.

In spite of lovelorn blindness, one is able to see clearly, reaches most tender insights and acts radically and — in social consensus — mostly incorrect. Starting point for Concepts of Love is the work of Judith Hopf with whom we developed the exhibition. The question of the impulse and social sense of a possible productivity that can — or cannot — be communicated and negotiated in polity plays an important role in her works. Along with her own works, a large number of co-productions came into being, some of which, like for example the video Bei mir zu dir tv.

In terms of a moment of intensification and dissipation, artist such as Keren Cytter and Henrik Olesen will develop own satellites or small universes within the exhibition. A lecture by Klaus Theweleit and a reading by author Monika Rinck will expands the array of events within Concepts of Love. Ist Kunst nichts als ein Konsumobjekt? How does art relate to money? Is art no more than a consumption-object? Are political contents more than a price rising factor on the overheated art market?

How much leeway is given if private sponsors have to close the gaps of missing public support for art institutions? Is it possible that sponsors get involved in art other than in terms of money? They are each filmed inside an anonymous office. They answer questions that are posed via inter phone and unheard by the viewer. A strange situation,making the viewer unsure whether the filmed persons pose for the public or are justifying themselves, or whether they are intimately soliloquising.

The personal way of speech involves the viewer and withdraws the neutralising distance. In a wilful parallel to the art market, Carpenter uses products of a global art market developing their value not least through their name. In a rather cynic way, the original idea of a ready-made as an object being linked to industrial reproduction and to the question of authorship is twisted here. And even the glamorous way way of dealing with popular culture, as is evident in the work of Jeff Koons, is broken through the presentation. For his project Radical Loyality ongoing since he bought an estate in Estonia in order to build a sculpture park.

Instead of asking for financial support, he invited the directors of big international companies to conversation. Sculptors from Estonia, who in Soviet times created communist monuments, are now supposed to realise these plans. It could also be interpreted in the sense of an ironic criticism of neo-liberal take-over in the European societies if he did not at the same time accept complicity with global players by seeking an open dialogue with the managers.

The title, deriving from the world of fashion, refers to an installation dealing with prestige, self-dramatization and its condition of oneself. It consists of a stage evocative of a protective casket, where one can see two video installations. Further elements of the installation, a coffin-like car roof box for car-roofs, a bed, a heavy, grey curtain and three bath robes evoke intimacy and preciousness as much as death and decay.

In nightly meetings they present the special features of these suits in dance-like performances. Einige Touren stammen aus den Anfangsjahren, andere finden zum ersten Mal statt. Seine Arbeit ist eine funktionierende Form von Kunst als Dienstleistung. For the last 10 years, Boris Sieverts has guided people through urban landscapes. He started in Cologne, on the right side of the Rhine — right outside his doorstep. Additional tours in Cologne continued, followed by an entire series in the Ruhr area, Paris, Rotterdam and other cities.

He also returned to Cologne to give tours time and again. The one- or multiple-day tours lead people through areas of the city far away from the centre and popular tourist destinations — to places people would not normally visit. It is exactly these fringe areas, whether inside or outside the city, as well as spots between densely populated regions, which remove people from their normal societal contexts.

Participants gain a perspective of the range and diversity of space possible when nothing needs to be put in its place. Some of the tours were designed years ago, others are being conducted for the first time. This is a unique opportunity for people to experience unexplored areas of city in this agglomeration in a concentrated period of time.

His work is a functioning form of the service of art. Sieverts will also hold so-called Google Earth lectures on four Wednesday evenings: He has selected colleagues to assist in the discussion, people with a fascinating interest and ability in talking about their relationship to their environment.

Sieverts will integrate virtual flights and projected images into his discussion of near and remote locations.

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The audience can suggest different cities, make comments or just listen. Bisweilen geraten sie dabei in einen schillernden Konflikt mit ihrer eigenen kritischen Position und einem rationalistischen Weltbild. Auf dieser formalen Ebene stellen sie die Frage von Autorschaft, die durch die referentielle Aufladung der Objekte wieder in Frage gestellt wird. Jahrhunderts an. In dem er in gefundene Bilder hineinmalt, stellt er auch die Frage nach dem subjektiven Filter, den jede Rezeption darstellt.

From time to time they come into a dazzling conflict with their own critical position and a rationalistic view of the world. The exhibition Pure Self Expression contains installations, sculptures and paintings revealing an affinity to trade and handicraft items. On this formal level the works of art pose the question of authorship, which is again challenged by the referential charging of the objects.

Since , Mai-Thu Perret has been working on the fictional text The Crystal Frontier , a text about a group of women leaving the city in order to establish an autonomous commune in the desert. Banner, props, carpets or pottery emerge throughout the process, functional as much as inoperable objects, that are exhibited as objects of this anonymous group and are intended to reveal the psyche of this fictional group. In contradiction to the rather cool appearance of the lacquered, monochrome reliefs, also the motives like eggs, chains, crystals and skulls speak for this ironic exaggeration.

The used objects are also based on the style of furniture typical for the Shaker Communities and regarded as the forerunner of modern design. Her fragile objects made of hard plaster, leatherette, wood or paper seem to communicate with each other. She abandones perfection with precision, creates the impression of something home made and instable, thus setting herself deliberately into oeuvre. Personal experiences, texts of authors enter the titles of the works of art and enable possible associations for charging the formally reduced objects with a content, which, however, always remains ambiguous and indefinite.

They seem to appeal in an almost excessive degree to the old concept of art as a dream world. Bell deliberately aims at formal and substantial connotations that at first look like a faux pas. In the installation at the Kunstverein these are for example Kitsh motives from popular-culture, teenager-rooms, but also the supercharging effect of light. He arranges a small altar, next to painting, drawings and objects creating the idea of diverse narratives. By painting on found paintings he, too, poses the question of a subjective filter, which every reception represents.

The Film The Black Room by Melvin Moti combines a fictional interview with Robert Desnos about his experiments in automatic writing under self-hypnosis, done in the circle of Paris Surrealists in , with a very slow tracking shot panning along the walls of the Roman Villa Agrippa near Pompeii. A place where grotesques were for the first time used as wall decoration.

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They represent the transformation from realistic illusion towards a new imaginary power and free representation of the world. In The Black Room imagination is shown as part of the psyche and the social reality, thus becoming a productive counterweight in times of fictionalization and virtualization. Unterschwellige, unberechenbare Aggressionen explodieren, aus einer scheinbar kindlich naiven Haltung entstehen subtile Bilder der Gewalt, erschreckend bekannt und unbesehen gesellschaftlich akzeptiert.

Helter Skelter zeichnet ein Bild in der sich die emanzipatorische Kraft der Selbstinszenierung, wie sie die Gendertheoretikerin Judith Butler schildert, in steter Gefahr steht in neue Macht- und Ausschlussmechanismen umzuschlagen. In Helter Skelter Stephanie Thiersch designs a perfidious choreographed arrangement combining elements of fragmented video stills, live music, recited text and dance as a critical commentary on everyday stereotypes of traditional and contemporary female roles and images.

Five physically very different female dancers try on various roles whereby socially accepted behaviour and oppressive regimes are questioned. Subdued and unpredictable aggressions explode, subtle images of violence emerge from a seemingly naive childlike attitude, alarmingly familiar and socially accepted. Helter Skelter draws a picture of an emancipatory power of self-determination, as sketched out by gender theorist Judith Butler, that is itself in constant danger to turn into new mechanisms of power and exclusion.

James Beckett geb. Der Ausstellungsraum selbst dient ihm dabei als Vitrine. Vor den doppelten Modellen steht jeweils ein Spaten. Im Ausstellungsraum sind diese Spaten verstummt und nur noch Reminiszenz des in der Performance erzeugten Tons. James Becketts Interesse an Sound hat sich aus seiner installativen Arbeit entwickelt. In his installations, Mark Bain born , Seattle, USA presents the self-oscillation of matter, particularly that found in architecture. By amplifying the seismographic oscillations of the ground or architecture either acoustically or using vibrators, he ultimately liberates the perception of space from the dominant form, namely observation.

The viewing distance we have when looking at something is lost as a result of the physical or acoustic experience of architecture. By presenting the machines used as minimal objects, he shifts the view from the world of products, which was so important for pop and concept art, to industrial devices, which dominate our everyday lives in a much more structural manner. With his work — which attacks, or topically addresses, architecture — and using industrial machines, he has already made himself a name internationally in the area of media art.

The Industrial Revolution also plays an important role in his artistic research. The invention of synthetic dyes and its link to BASF, for example, or the cultural implications of vacuum cleaner tubes for the Dutch concern, Philips. When he tells these stories, which also question customary artistic media, such as colour and images, based on the representation of the personal sphere of experience, he strips them of their power over our everyday lives.

In other works as well, Beckett transforms scientific standards and units of measurement and order into aesthetic ones and questions their indisputability in doing so. Bain and Beckett are characterised by an experimental approach to new technologies and media as well as a sensitive examination of specific places. To this end, Beckett will duplicate architectural models of the Cologne-based architect, who deals with the vocabulary of modernism as if it were Lego.

Mark Bain will amplify the character of the exhibition space as a display cabinet for the city by making the vibrations of the window glass audible. In doing so, he will transmit sounds from the inside to the outside and vice-versa. Also on display will be Partial Museum of Noise by James Beckett and a new version of the Feed carnivore video work by Mark Bain, which works with a fear-provoking super-positioning of television images. With their work, both artists question the principles of social organisation in terms of traffic, industrialisation, engineering and mass media.

To this end, they touch on central topics for the future development of western democracies, which will also play an important role in our curatorial programme. Der Ausstellungstitel ist einem Film von Kurt Kren entliehen. Kurt Kren hat aus den grundlegenden Faktoren des reinen Kinos — Bewegung, Material, Licht und Wahrnehmung — seine Filme entwickelt und dabei nicht nur mit Licht und Wahrnehmung, sondern auch mit den Apparaturen des Filmemachens experimentiert.

Sein Blick gilt den Auswirkungen dieser rituellen Praktiken auf die Psyche und das Alltagsleben, ebenso wie der ihnen immanenten Phantasie und Poesie. Cameron Jamie, geboren in Los Angeles, lebt und arbeitet in Paris. Peter Kogler, geboren in Innsbruck, lebt und arbeitet in Wien. Seit der Mitte der er Jahre nahm er an internationalen Filmfestivals teil und war international als einer der wichtigsten Underground-Filmemacher bekannt. The exhibition Keine Donau No Danube unites three generations of artists and relates their works to one another.

Cameron Jamie and Peter Kogler have integrated works by the underground filmmaker Kurt Kren, who died in , into their jointly developed exhibition focusing on the interrelationships between art, film and architecture.


Experimental films by Kurt Kren, who is considered one of the most important representatives of the international film avant-garde and a pioneer of structural film, are shown in a dialogue with the most recent spatial works by Peter Kogler and work by the American artist Cameron Jamie. He developed his films from the very foundations of cinema — movement, material, light and perception — and experimented not only with light and perception, but also with technical equipment.

Beginning of the s Peter Kogler had already started experimenting with the then newly emerging computer technologies and with these tried to find new ways of artistic expression. His transformations of all-encompassing signs, images and spaces point a perfect permeation of public and private spheres with these signs and an ultimate merging of the two.

American backyard wrestlers, spook houses or other eerie theatrically staged productions dealing with death, denial, fear and violence are only a few of the rituals of everyday culture that Cameron Jamie explores with his art. He focuses on the effects of these ritual practices on the psyche and everyday life and on their inherent imaginings and poetry. Of the interplay between different artistic positions results an exhibition on transgressions and expansions of boundaries. It reflects on uncanniness and the abysmal in our society, whose representation in everyday life can suddenly evoke an irritating and anxious dimension.

This is also a reference to the great cinematic tradition of the Kunstverein building. Cameron Jamie, born in Los Angeles, lives and works in Paris. Peter Kogler, born in Innsbruck, lives and works in Vienna. Participation in international film festivals beginning in the mids. Die Ausstellung wurde in Kooperation mit der Galerie im Taxispalais, Innsbruck realisiert, die die erste umfassende Einzelausstellung von Sanja Ivekovic gezeigt hat.

Sanja Ivekovic, geboren in Zagreb, lebt und arbeitet in Zagreb. Mi, Oktober, 19 Uhr. Sa, Sylvia Eiblmayr zeigte die erste umfassende Einzelausstellung von Sanja Ivekovic. On first impression the photographs, videos, objects and performances, that Sanja Ivekovic has created since the mid-seventies, seem to follow the laws of a glamorous pop culture. Inscribing herself as a person and thus the private into public discourse, in her work Sanja Ivekovic pursues the question of how the routines of everyday life are influenced by the dictate of fashion, advertising and the star cult.

At the same time, for the artist the body is always only the body in the representation — an image surface dominated by the gaze. Sanja Ivekovic purposely exposes herself to the male gaze, emphatically placing the body, sexuality and gender in the context of the political. Wednesday October 4, 7 pm. Saturday October 7, 7 pm. In , Sylvia Eiblmayr presented the first comprehensive sole exhibition of the works of Sanja Ivekovic. A large part of these works will also be on display at the Kunstverein.

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Sie ist aber doch mehr als eine Malerin. Der Katalog mit Seiten umfasst ca. Ausstellung: Keine Donau , Ich bin an beiden Sprachen interessiert. Die Statisten werden ungewollt und unwissend zu Hauptdarstellern, das Filmteam agiert wie Marionetten nach einem ungeschriebenen Drehbuch. Die Freistellung einer Situation und deren Transfer in einen neuen Kontext findet sich auch in der Ausstellungsgestaltung Wedemeyers wieder. Transferiert von der Kinosituation in den Ausstellungsraum, fungiert die von Clemens und Henning von Wedemeyer entworfene Ausstellungsarchitektur wie die Struktur eines Filmes.

Fiktion entsteht als Trennung zwischen den Bereichen. Der Katalog wird am Mai, 19 Uhr. I am interested in both languages. Both of them together make it possible to find a practice that provides new spaces for new investigations. In his first major solo exhibition Clemens von Wedemeyer shows works from recent years. With the selection of works he explores a direction while simultaneously establishing references to the architecture of the Kunstverein building, which is regarded as one of the outstanding architectural monuments of the s and is devoted to art and cinema.

A large number of extras and a film crew come together at night in an unidentifiable location. The extras unwillingly and unwittingly become the main figures, the film crew operates like marionettes following an unwritten script. Transfered from the cinema situation to the exhibition space, the exhibition architecture designed by Clemens and Henning von Wedemeyer functions like the structure of a film. The exhibition walls serve as a division, as incisions between the different zones.

Fiction results as a division between the areas. Both films appear as though from an in-between world, in which the images do not allow surrendering to an illusion, even though they are far from documentary. This is more the way an absurd fairy-tale or dream is experienced. In a space that Wedemeyer has inserted between the two projection spaces, it becomes clear how much fiction is needed to convey subjective realities. The room opens up a view of the city of Cologne, thus also establishing an architectural connection with the apparently real of everyday life.

Catalogue A catalogue will be published for the exhibition with essays in German and English by Ekaterina Degot and Beatrice von Bismarck. The catalogue will be presented on May 5th at 7 pm in conjunction with the exhibition discussion. Der Ehemann behandelt seine Frau wie einen Packesel. Der Migrantin kam darin eine zentrale Rolle zu.

Der Schauspieler Gandi Mukli ist anwesend. Detaillierte Informationen zu den jeweiligen Flimen: www. Januar Trisha Donnelly wurde von einer internationalen Jury, bestehend aus Chen Y. Beinahe obsessiv spielt sie mit einer Mischung aus Faszination und Ratlosigkeit. Trisha Donnelly erforscht in ihren Arbeiten immer wieder die Grenzen der Sinneswahrnehmung.

Das was uns eigentlich Immateriell erscheint, wird nun zum architektonischen Element, das ganze Raumteile voneinander zu trennen vermag — dessen Wirkung sich allerdings erst im Besucher selbst entfaltet. Trisha Donnelly was nominated by an international jury consisting of Chen Y. With the promotional prize amounting to Euro The basis for her work Rio from , for instance, is a sunset.

In this video work Trisha Donnelly stands sideways in relation to the camera, while a colored lamp behind her creates the impression of an artificially staged home-made sunset. A song is heard that was written to convey a sunset to a blind person. To the sound of this song with its Latino rhythms, Trisha Donnelly apparently begins to translate the lyrics of the song into sign language. One might think that she is communicating the atmosphere of the music to an imaginary deaf person, who is able to see the artificial sunset but not hear the song.


Yet instead of translating the lyrics of the song word for word, she gives directions for finding the way to an idyllic location in the mountains of Rio de Janeiro. In comparison, some of her other works appear uncanny, almost foreboding. Screening: Familien Bande , Stock eines Sozialbaus emporzuheben. Cezary Bodzianowski wird die Dokumentationen am Freitag, den The polish artist Cezary Bodzianowski, who has recently been distinguished with the renowned Polish Art Prize Polityka , is an unusual artist, who is still too little known outside Eastern Europe.

One reason for this lies in the resistiveness, with which his artistic work rejects the expectations and the tendencies to appropriate and categorize that are found in an international exhibition practice increasingly oriented to the laws of the art market. This rejection is expressed not only in his choice of performative intervention as his preferred artistic medium.

The transience of this chosen medium also corresponds to the transience of the actions or the situations that he creates in this way. Some of his interventions go completely unnoticed, others have chance observers; they are rarely directed to a — pre-informed- audience that expects them and can put them into an art context. He is not concerned with duration, has no fear of long passages, does not worry about the audience or a spectacular finale.

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  • The countless actions take place almost entirely unnoticed by the art business and independent from it, as a kind of expression of a daily artistic necessity. What they all share is the intentional limitation to the simplest means, which also makes it possible to spontaneously react to found situations. He knocked on the windows, waking the residents, greeting them and leaving his regards to wish a good morning to all the other residents.

    Special examples for his poetic, subversive interventions, as well as his skepticism with regard to conventional exhibition practices are found in contributions to exhibitions to which he has been invited. For his part in an exhibition in a gallery in Lublin in , he persuaded the staff to lock themselves in the gallery during the opening hours of the exhibition, unplug the computers and telephones and stop working. In the meantime, the artist took a long walk through the sunny streets of Lublin.

    The assertion of alternative readings of what is seemingly assured harbors a subversive potential in a society, whose self-understanding is substantially based on the unambiguousness and incontrovertibleness of what is generally agreed to be true. Although this subversive potential is overlaid with the great poeticalness of the interventions, it is specifically inscribed into critical awareness through this immanently poetic pictorialness lastingly and ineradicably. Cezary Bodzianowski will comment on the documentations in a performance on Friday, 18 February at 7.

    Hier treffen verschiedene Projektionen aufeinander, die sich je nachdem von welcher Seite man blickt voneinander unterscheiden. In einigen der gezeigten Filme ist die Grenze bzw. Zwei amerikanische Undercoveragenten schleusen sich in einen Schlepperring ein, der zwischen der amerikanisch-mexikanischen Grenze operiert. For those who are unwelcome, crossing it represents a life-threatening risk. This is where projections meet, which differ from one another depending on which side one is looking from. The film series shows works that deal with the border and its effects in different ways.

    In some of the films the border or border region is the main setting; in others it is less immediately present, but still an important point of reference. The locations that Chantal Ackermann shows in tranquil pans and tracks are charged with this. A City of Sadness Hou Hsiao-hsien Taiwan , min, original version with German subtitles The story of a Taiwanese family caught up in the whirl of events in the post-war era.

    The film begins in with the end of Japanese occupation and depicts the brief transitional period until , when the country is oppressed again by the authoritarian politics of mainland China. In Tangier Serge, Sarah and Said cross paths. Two American undercover agents infiltrate a ring of human smugglers operating between the American-Mexican border. Zeit der trunkenen Pferde Bahman Ghobadi Iran , 79 min, original version with German subtitles This feature film shot with amateur actors depicts with naturalistic force the rough existence of five orphans in the north of the Iranian part of Kurdistan.

    A life-saving operation for the eldest, handicapped orphan Madi is to be paid for with money earned by smuggling across the border. For this operation Madi has to achieve the impossible: to reach the other side of the border. Godard decided to make a film about the loneliness of a state. After the disappearance of the German-German border, the aged agent Lemmy Caution wanders through the former GDR territory and approaches the west.

    His path is strewn with traces of German history. Durch die performative Inszenierung hat der Ort eine narrative Aufladung erfahren, obwohl die Spuren der Akteure nach der Performance dem Besucher wie weggewischt erscheinen. Wie Anspielungen funktionieren auch die Bilder und Arbeiten im anderen Ausstellungsraum, die einen umfassenden Einblick in Cosima von Bonins Arbeitsweise der letzten Jahre geben.

    Die Abbildungen werden von einem Text von Manfred Hermes begleitet. Der Katalog mit ca. Zehn Designer, zehn Shows. Es gibt gebrochenen Okkultismus. Es gibt ein Aggressionspotenzial, das einigen innewohnt. Oder Kultstrukturen. Filme, die jenseits von Kategorien wie Spiel oder Autorenfilm etc. Etwas, das Selbstaufhebung verursacht. Etwas teilt sich unabsichtlich in seinen Werken mit. The selected films are not merely based on a single idea, but are a fabric of cinematic ideas and genres—indeed, the films are themselves nearly unclassifiable artefacts.

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    It is the blurring and new formation of an art form as a world between worlds, in which loss can also be experienced as liberating. There are expressions of forms of non-insight that come precisely from these intermediate worlds. There is fractured occultism. There is a potential for aggression inherent in some of the films.

    Or cult structures. In any case, the most personal subject matter intermingles with the extremely general. Something that causes the Aufhebung denial of self. Something is communicated unintentionally in the works of this series. Psychoaesthetic effects become clear in the process.

    There is a mixing of effects. I consider such events to be a reinforcement of the practical-political mysteries of artistic work, as rituals from which artistic action can arise. Each film is its own existence on probation; each has its own unique elements of tragedy and parody, and its own vivid, momentary revelations of the inexplorable. This is considered one of the most significant French films of the s. He eventually seems to exchange personalities with the musician.

    Paganini, Klaus Kinski, I , 82 min. The framework of the film is a spectacular concert during which Paganini simultaneously experiences the past and the future. The film stood apart when it was shown at the Cannes Film Festival in This film combines aspects of the western with film noir. Medea, Lars von Trier, DK , 77 min. Lars von Trier based his television adaptation on an unfilmed screenplay by Danish director Carl Theodor Dreyer.

    It is an atmospheric and powerfully visual version of the classic Greek tragedy, in which Medea seeks bloody revenge for betrayal by her husband Jason. With the aim of creating the widest possible open framework, nine curators from different regions of Germany were each invited to nominate three young artists.

    These should be little known or not yet established in the art scene, yet their work should be significant to current developments in contemporary art. In addition the curators each proposed an established artist to provide a historical or artistic reference, who could contribute to a clarification of the works chosen.