I can’t wait for this exhibition! I’m posting everything they have available for the public associated with the exhibitions during the next few months and I will make another post after I visit the museum press tour. The text below is a copy and paste job and because it is soooooo long, please try skimming through. There are some really super cool events associated with this exhibition. (I’ve highlighted one that you absolutely should see!)
Anwar Jalal Shemza
The Fable, 1962,
68,00 x 47,00 cm (with frame), Oil on hand dyed cloth on mountboard, Aphra Shemza, London, Copyright the Estate of Anwar Jalal Shemza
Exhibition and Associated Events
Haus der Kunst will have the following program in conjunction with its exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965”.
The broad-based events explore crucial questions concerning the art, politics, and social contexts of the postwar era along with programs related to concurrent exhibitions on view in the museum.
The exhibition guides visitors through the first 20 years following the end of World War II, demonstrating how artists coped with and responded to the traumas of the Holocaust, the atomic bombs on Hiroshima and Nagasaki; how the two political blocs of the Cold War exploited the arts and created competition between realism and abstraction, and how displacement and migration produced new cosmopolitan contexts across the world.
The postwar period also marked the end of European colonial systems; the rise of nation-building, decolonization and liberation movements; the partition of countries in Europe, Asia, and the Middle East; as well as the civil rights movement in the United States.
These changes unleashed an incredible energy visible in the art of the time. New technologies began to pour into everyday life; the space age fascinated artists as well as the masses, opening up a completely new and dynamic field of artistic consideration.
Cinema Season – “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” Sundays, 14.10.16 – 26.03.17, noon – 8 pm Curated by distinguished scholar and curator Mark Nash, this cinema season presents a series of tightly contextualized vignettes that explore the work of cutting-edge auteurs from India, Japan, Italy, France, Senegal, Brazil, Poland, China, former Yugoslavia, Egypt, the Netherlands, and the former USSR.
The program offers insights into Postwar Atomic Cinema, French New Wave, Italian Neo-Realism, Cinema Novo, and Black Wave and, amongst cinematic movements through thematic, genre, and monographic surveys.
Every Sunday from 12 to 8 pm in our auditorium, two or three films accompanying the exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” will be screened. Tickets 5€ (without exhibition entrance ticket) Free admission with exhibition entrance ticket. Please visit our website for the full program.
Free admission Inaugural Lecture series and curatorial roundtable accompanying “Postwar: Art Between the Pacific and the Atlantic, 1945–1965” Friday, 14.10.16, 7 pm Following the exhibition opening, the inaugural lectures will be held by art historian Katy Siegel, curator of the exhibition, and Geeta Kapur, art critic and curator; two of the preeminent experts in postwar modern art.
The lectures will be followed by a roundtable discussion with Chika Okeke-Agulu, associate professor of art history at Princeton University, and editor of “Nka: Journal of Contemporary African Art”; Ulrich Wilmes, curator of the exhibition and chief curator of Haus der Kunst; and Okwui Enwezor, curator of the exhibition and director of Haus der Kunst.
The event will offer an in-depth art historical overview of the themes and scope of the exhibition.
Katy Siegel, curator of the exhibition “Postwar: Art Between the Pacific and the Atlantic, 1945–1965”, is the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art at Stony Brook University, and Senior Programming and Research Curator at the Baltimore Museum of Art. Her books include “’The Heroine Paint’: After Frankenthaler”; “Since ’45: America and the Making of Contemporary Art”; and “Abstract Expressionism”.
She has written catalogue essays on modern and contemporary artists Willem de Kooning, Wols, Georg Baselitz, Frank Stella, Magnus Plessen, Eberhard Havekost, Sharon Lockhart, and Sarah Sze, and she is a contributing editor at Artforum. Curated exhibitions include “Painting Paintings (David Reed) 1975” (co-curated with Christopher Wool); “Light Years: Jack Whitten 1971-1974”; “The Matter that Surrounds Us: Wols and Charline von Heyl”; and “High Times Hard Times: New York Painting 1967-75”. She is co-curator of Mark Bradford’s installation of the American Pavilion at the 2017 Venice Biennale. 5 Geeta Kapur is a Delhi-based critic and curator. Her essays have been extensively anthologized; her books include “Contemporary Indian Artists” (1978); “K.G. Subramanyan” (1985); “When Was Modernism: Essays on contemporary cultural practice in India” (2000); “Critic’s Compass: Navigating Practice” (forthcoming). She was a founder-editor of “Journal of Arts & Ideas” and member of the advisory council “Third Text”. She is trustee/ advisory editor of “Marg” and editorial advisor of “ARTMargins.” Curatorial projects include “Dispossession” (Johannesburg Biennale, 1995); “Bombay/Mumbai, Century City” (Tate Modern, co-curation, 2001); “subTerrain” (House of World Cultures, Berlin, 2003); and “Aesthetic Bind” (Chemould, Mumbai, 2013-14). She lectures internationally and has held visiting fellowships at the Institute of Advanced Study, Shimla; Nehru Memorial Museum and Library, Delhi; Clare Hall, University of Cambridge; as well as Jawaharlal Nehru University, Delhi.
Chika Okeke-Agulu is Associate Professor of art history at Princeton University, and editor of “Nka: Journal of Contemporary African Art”. He has co-organized several art exhibitions, including the Nigerian Pavilion at the First Johannesburg Biennale, 1995; “Seven Stories About Modern Art in Africa” (Whitechapel Art Gallery, London, 1995); “The Short Century: Independence and Liberation Movements in Africa, 1945-1994” (2001); The Fifth Gwangju Biennale (2004), and “Who Knows Tomorrow” (2010). His books include “Contemporary African Art Since 1980” (2009); “Who Knows Tomorrow” (2010); “Postcolonial Modernism: Art & Decolonization in 20th-Century Nigeria” (2015). In 2016, he won the College Art Association Frank Jewett Matther Award for Distinction in Art Criticism. Chika Okeke-Agulu is a columnist for “The Huffington Post” and Blogger at “Ọfọdunka”.
Introduction and moderation by Okwui Enwezor, Director Haus der Kunst Tickets 5 €
Improvise NOW!!! Panel Discussion and Concert Saturday, 22.10.16, 6 pm and 8:30 pm Panel Discussion: Internationalism and Darmstadt: Beyond New Music Saturday, 22.10.2016, 6 pm On the occasion of the 70th anniversary of the Darmstadt International Summer Course for New Music in 2016, this panel discussion will reflect on the seminal impact of the unique international gathering over the course of the last seven decades. Founded by Wolfgang Steinecke in 1946, the Darmstadt International Summer Course for New Music is one of the most important platforms in the world for the music of our time. It took place for the first time at Kranichstein Hunting Lodge, before the gates of an utterly destroyed city and amidst the debris of postwar reconstruction in Europe. The Darmstadt summer courses are associated with significant figures in contemporary music after 6 1945, and were the site for vehement aesthetic debates, and sometimes controversies, concerning the future of composition, representation of gender, or nonwestern music. The discussion will take a presentation of the exhibition “historage” as a starting point that commissioned nine international artists to re-examine the archive of the International Summer Course for New Music in commemoration of its 70th anniversary in 2016.
A concert presentation by Ensemble Musikfabrik follows the discussion, with a special guest appearance by the composer and improviser Michael Wertmüller. Speakers Michael Rebhahn is a freelance musicologist and music journalist in Frankfurt. He studied musicology, art history, and philosophy; finishing with a PhD in musicology. From 1997 to 2000 he worked as an assistant editor for the “Neue Zeitschrift für Musik” and as an author for the cultural television program 3sat-Kulturzeit. He is also a lecturer in musicology at the Goethe University Frankfurt and Folkwang University of the Arts Essen. Since 2000 he has produced numerous radio features for contemporary music stations such as Deutschlandradio Kultur, hr2-kultur, SWR 2, and WDR 3. In 2007 he was editor-in-chief for New Music at the Hessischer Rundfunk. Since 2012 he has worked as a lecturer at the International Summer Course for New Music Darmstadt and co-editor of the series “Darmstädter Beiträge zur Neuen Musik”. Rebhahn is the curator of the exhibition “historage”. Olaf Nicolai (lives and works in Berlin) studied German Literature and Philology in Leipzig, Budapest, and Vienna and completed his PhD in 1992. The artist has developed a wide range of interdisciplinary projects that challenge the elemental experiences of space, time, and corporeality. Whether based on a science-fiction novel, a piece of music, or industrial crafts methods, Nicolai’s works examine social behaviour and how it is influenced by the physical and historical aspects of particular spaces.
Nicolai has staged a number of musical performances in recent years, including “Innere Stimme” (2010); “Escalier du Chant” (2011); and, most recently “Non consumiamo…(to Luigi Nono)”, which was commissioned by the 56th International Art Exhibition – La Biennale di Venezia. Olaf Nicolai has been awarded several grants, including the grant of the Studienstiftung des Deutschen Volkes at the Studies Centre for Art and Science in Venice (1993), the P.S.1 Museum Grant, New York (1998), the IASPIS Grant, Stockholm (2000), Art Award Wolfsburg (2002) and the Grant of the City of Paris (2007), grant at the Villa Aurora, Los Angeles (2008).
Ensemble Musikfabrik has developed a dedicated following and reputation as one of the leading ensembles for contemporary music in Europe since its formation in 1997. The Cologne-based international soloist ensemble is particularly devoted to artistic experimentation and innovation through performing new, unknown, and commissioned works. The results of their extensive work, often 7 in close collaboration with the composers, are presented in a program of about 80 concerts a year in both Germany and abroad, at festivals, in their own series “Musikfabrik in WDR”, and in regular radio recordings and CD productions. Michael Wertmüller is a Swiss composer and improvisor whose speculative music is full of raw power. Wertmüller is a virtuoso both as a composer and drummer. Literary texts underlie several of his pieces: from Nietzsche in “Dunkel-Zeiten” (Dark Times); from Beuys in “Das Zimmer” (The Room); a bizarre play from Thomas Bernhard in “William”; and “Entleibung” (Decorporeal) runs through a triptych by Francis Bacon. The text images are of course not a subject that is copied into music, but rather an impulse for musical processes – an Expressionism that develops in rhythms and tones. His latest composition for a large ensemble, the opera “Weine nicht, singe”, premiered to enthusiastic critical responses at the Hamburger Staatsoper in late 2015, one of his long standing groups is the Full Blast Trio with Peter Brötzmann and Marino Pliakas. Concert program Olaf Nicolai “Non consumiamo … (To Luigi Nono)” (2015) For three voices, radio, and electronics 20’ Ensemble Musikfabrik Morton Feldman | “De Kooning” (1963) For horn, percussion, piano, violin, cello 12′ Live performance accompanied by film projection Karlheinz Stockhausen | “ZYKLUS” (1959) For one percussionist 13′ Morton Feldman | “Jackson Pollock” (1951) For two cellos 5’30” Live performance accompanied by film projection Steve Reich | “Radio Rewrite” (2012) For ensemble (flute, clarinet, two vibraphones, two pianos, electric bass, and string quartet) 19′ Michael Wertmüller | “Batterie” (2016) For one percussionist 14’30” Steve Reich | “Come Out” (1966) Loops and voice 17’16” 8 Tickets 18 € / Box office 25 € (Concert incl. discussion)
Exploring “Postwar – Art between the Pacific and Atlantic, 1945- 1965” Tuesday, 25.10.16–07.02.17, 11 am – 1 pm A collaboration with Institute for Art History at Ludwig Maximilian University, Munich For visitors to the exhibition in Haus der Kunst, students of the Institute for Art History at Ludwig Maximilian University, Munich, have organized an art education program related to the show’s thematic foci. Particular attention will be given to the postwar period as a global phenomenon. The public seminar will be moderated by Dr. Karin Wimmer, research assistant at the Institute for Art History at Ludwig Maximilian University; Sabine Brantl, Curator Archive at Haus der Kunst; and Damian Lentini, GoetheInstitut Research Fellow, at Haus der Kunst. Dates 25.10.16 – 07.02.17 Tuesdays, 11 am – 1 pm There will be no seminar on 01.11.16, 27.12.16, or 03.01.17
- 25.10.16 What is Global Art: The end or the diversification of the modern? Introduction to the themes.
- 08.11.16 The Shock of the Second World War and its Aftermath
- 15.11.16 Exile and Migration
- 22.11.16 Abstract Art and a Global Language. Freedom and the Cold War
- 29.11.16 Realism as a political Phenomenon
- 06.12.16 The Development of Modernism in Asia
- 13.12.16 Towards a History of Decolonization: The Art and Culture of PanAfricanism
- 20.12.16 Artistic Concepts in the Middle East and North Africa
- 10.01.17 Concrete Art
- 17.01.17 Conceptual Art 24.01.17
- Performance Art and Happenings
- 31.01.17 Networking and Communications
- 07.02.17 New Cartographies of Art. Contemporary Perspectives Free admission with exhibition entrance ticket 9 Exhibition opening “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” Thursday,
27.10.16, 7 pm The films and photographs by artist and filmmaker duo Joana Hadjithomas and Khalil Joreige (both born in 1969 in Beirut) focus on the history of their native country of Lebanon. Politicized at an early age by the Lebanese civil war (1975–1990), they redefine the role of images in relation to memory and history and explore the parameters of images and their narratives. Drawing inspiration from found documents, personal archives, and poetic experience, Hadjithomas and Joreige navigate a unique route between art and cinema. Their documentary and feature films, photographs, installations, texts, and performances develop narratives and images articulated around forgotten events or stories kept secret that resist to official history and dominant imaginaries. Part of their visual strategy is to displace the gaze in order to visualize the complex situation of their region and beyond. Tropes like the concept of latency, the visible and the absent, the continuous interchange between reality and fiction inspire their multifaceted experimentations that question systems of representation, the fabrication of imaginaries and the writing of history.
The exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” establishes thematic, conceptual and formal bridges between their works, allowing visitors to travel among the artist’s various investigations and experiments from the late 1990s to the present day. It follows many thematic threats: images affected by war and violence; missing and lasting images; a forgotten Lebanese space program from the 1960s; the recent body of work focusing on the virtuality of internet spams and scams and addressing beliefs, the imaginary of corruption and a strange historiography of the world; lastly, they have been exploring poetic routes and there by immersing themselves into questions of transmission of history shifting bodies, borders, and notions of belonging with two new films, “ISMYRNA”, in conversation with Etel Adnan, and “Remembering the Light”. As Hadjithomas and Joreige have a dual practice as artists and filmmakers, the exhibition includes an extensive film program.
Five films are presented every Saturday from 12 to 6 pm in Haus der Kunst’s auditorium. A collaboration between Jeu de Paume, Paris; Sharjah Art Foundation, Al Mareija – Sharjah; IVAM, Valencia; and Haus der Kunst, Munich. Film Program
A Perfect Day 2005 92 min. 10 Arabic with English subtitles With Julia Kassar, Ziad Saad, Alexandra Kahwaji Stuck in a traffic jam, Malek catches a fleeting glance of the beautiful Zeina, the woman he loves. He desperately tries to get through to her by text message but she does not want to see him. She vanishes into the throng of midday Beirut traffic. The young man has a syndrome that interrupts his breathing during sleep. Whenever he stops moving, he dozes off, adding to his disorientation. His mother Claudia has still not accepted his father’s disappearance after 15 years. She stays at home should her husband return; Malek drives around the city alone in his car, each of them trying to live with a void of lost love. But today may be the “perfect day” to lay their ghosts to rest. Malek is taking his hesitant mother to declare her husband officially dead in the “absence of a body”. And that evening, in a trendy nightclub where the young of Beirut go to dance and forget their troubles, Zeina looks ready to give Malek a second shot at the love he so yearns for.
Je veux voir (I Want To See) 2008 82 min. Arabic with English subtitles With Catherine Deneuve and Rabih Mroué July 2006. A war breaks out in Lebanon. The artists no longer know what to write, what stories to recount, what images to show. They ask themselves: What can cinema do? They decide to translate this question into a film. They go to Beirut with the iconic Catherine Deneuve, an actress who to them symbolizes a certain genre of cinema. She meets actor Rabih Mroué, longtime friend of the artists. Together they drive through the regions devastated by the conflict. Through their presence, their meeting, the artists hope to find the beauty that our eyes no longer perceive. It is the beginning of an unpredictable, unexpected adventure.
The Lost Film 2003 42 min. Arabic with English subtitles A copy of the first feature film of the artists disappeared in Yemen, on the day of the tenth anniversary of the reunification of North and South. A year later they are there, following the track of the lost film. An enquiry that takes the artists from Sanaa to Aden, a personal quest centering on the image and on their status as filmmakers in this part of the world.
Ramad (Ashes) 2003 26 min. Arabic with English subtitles With Rabih Mroué, Nada Haddad, Neemat Salamé 11 Nabil returns to Beirut with the ashes of his father who died abroad. He tries to overcome his bereavement while his family insists on respecting rites and customs by burying a nonexistent corpse…
The Lebanese Rocket Society (The Strange Tale of the Lebanese Space Race) 2013 94 min. Arabic with English subtitles In the early 1960s, during the Cold War and the apex of Pan Arabism, a group of utopian students and researchers enters the race to space and create the Lebanese Rocket Society. Sometimes, dreams can overtake a tormented history. Tickets Opening: Free admission Film program: Free admission with exhibition ticket November Curatorial Dialogues. Historical Exhibitions 1 Thursday, 03.11.16, 7 pm
The first in a series in which leading curators and museum practitioners critically reflect on the history of “postwar” exhibitions, this curatorial dialogue brings together Kasper König and Frances Morris, two eminent curators and museum directors whose exhibitions have delved deeply into the subject.
The season commences with a focus on two influential exhibitions staged in Europe in the 1980s and 1990s: “Westkunst”, curated by Kasper König and held at the Kölner Messehallen in 1981 and focusing on the development of western modernism from 1939 to 1970; and “Paris Post War: Art and Existentialism, 1945-55” curated by Frances Morris staged at the Tate Gallery, London in 1993, and examining the art, literature, and philosophy in Paris during the first decade following the end of World War II. Participants Kasper König was just 23 years old when he curated the museum exhibition “Claes Oldenburg” in Stockholm. Even while still studying he organized other exhibitions and published numerous books. After living in the United States and Canada for several years, he was instrumental in helping Klaus Bußmann establish the then-controversial “Skulptur Projekte” (“Sculpture Projects”) in Münster that take place every ten years since then. In 1985 König was appointed to the newly established chair for “Kunst und Öffentlichkeit” (“Art and the public space”) at the Kunstakademie Düsseldorf. Three years later he was made professor at the Städelschule Frankfurt and then appointed its director in 1989. During the same period he was also the founding director of the Portikus exhibition hall. As curator he organized major exhibitions such as “Westkunst” (1981) at the Kölner Messehallen 12 as well as “Der zerbrochene Spiegel” (“The Broken Mirror”, 1993, Vienna, Hamburg). In 2000 he became director of the Museum Ludwig in Cologne, which he headed for twelve years. In 2014 he was chief curator of the Manifesta 10 in St. Petersburg; in 2017 he will again direct the “Skulptur Projekte” Münster. Frances Morris has played a key role in the development of Tate, joining as a curator in 1987, becoming Head of Displays at Tate Modern (2000–2006) and then Director of Collection, International Art, until April 2016, when she was appointed Director, Tate Modern. She has curated landmark exhibitions, many of which were large-scale international collaborations, including three major retrospectives of women artists including Louise Bourgeois in 2007, Yayoi Kusama in 2012, and Agnes Martin in 2015. Earlier in her career Morris curated “Paris Post War: Art and Existentialism, 1945-55” in 1993 and in 1995 she worked with Stuart Morgan on the exhibition “Rites of Passage”. Specializing in postwar European and contemporary international art, she has published widely on the subject and has also curated projects with many contemporary artists from Britain and abroad, including Miroslaw Balka, Chris Burden, Genevieve Cadieux, Sophie Calle, Mark Dion, Luciano Fabro, Paul McCarthy, and Nicholas Pope. Introduction and moderation by Okwui Enwezor, Director Haus der Kunst A cooperation with Müchner Kammerspiele Tickets 5 € Talks & Tours – Ingvild Goetz und Ulrich Wilmes Tuesday, 8.11.16, 6:30 pm Tickets 14 € (Tour incl. exhibition visit)
From Here to There, Far Away from Home – Exile and Migration Workshop for students grades 9 and up Thursday, 17.11.16, 10 am Exile and migration are not just contemporary phenomena. The biographies of the artists represented in “Postwar – Art Between the Pacific and Atlantic, 1945-1965”, are often characterized by migration, exile, and displacement. For one reason or the other, many artists abandoned their original places of residence and crossed geographical, cultural, and political borders. Nazism, World War II, and the massive upheavals after 1945 led to one of the largest and most comprehensive cultural ruptures and artistic migrations.
The workshop is based on research, knowledge production, and transference; as well as the close examination of the artworks in order to establish the basis for an exploration of exile and migration in the artistic context and to create an awareness of 13 current transcultural processes. Why did these artists leave their home countries? How did exile and migration affect their lives and work? How is this cultural legacy manifested visually in their work? How do migration and refugee movements affect artistic production in general? And how does migration create cosmopolitan networks and diasporic communities? The discussion will explore not only the darker side of these phenomena, but also their opportunities and possibilities, as well as the participants’ own associations and interpretations. Related secondary school subjects: Art, History, German, Social Studies, Ethics Smartphones and tablets (for research purposes) are expressly permitted! Dates Thursday, 17.11.16, 10 am Thursday, 19.01.17, 10 am Duration: 2 hours
Other dates can be booked on request. A study room at Haus der Kunst can be reserved on request for follow-ups and further discussion. The workshop can also be booked with an artistic and practical segment (+ 1.5 hours). Tickets 3 € (incl. exhibition admission)
Information and booking: email@example.com
Improvise NOW!!! Abstraction and Improvisation: Remapping Bebop and Free Jazz One-day symposium and Concert by 48Nord Saturday, 19.11.16, 3 pm – 7:30 pm and 9 pm
One-day symposium: The “Oxford Handbook of Critical Improvisation Studies” Saturday, 19.11.16, 3 pm – 7:30 pm The two-volume publication “Oxford Handbook of Critical Improvisation Studies” (Oxford University Press, 2016) represents a landmark of new scholarship in improvisation studies today. Edited by George E. Lewis, renowned composer and trombonist, and Edwin H. Case Professor of American Music, Columbia University, New York, and Benjamin Piekut, Associate Professor of Musicology, Cornell University, Ithaca, the two volumes gather together incisive essays by internationally renowned contributors working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art of improvisation from the widest possible 14 range of perspectives in an exploration of historical, conceptual, technological, and compositional patterns in improvisation.
The resulting contributions illuminate the processes through which the practice of improvisation informs a vast array of fields of inquiry. With select contributors and respondents, George E. Lewis and Benjamin Piekut will present and discuss the handbook and the implications for improvisation in the wider contemporary realm. Speakers Keynote 3:45 pm – 4:45 pm George E. Lewis George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, his honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015). A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s creative work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, International Contemporary Ensemble, and others. His widely acclaimed book, “A Power Stronger Than Itself: The AACM and American Experimental Music” (Chicago, 2008) received the American Book Award and the American Musicological Society’s first Music in American Culture Award. In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh. Respondent 4:05 pm – 4:45 pm Georgina Born Georgina Born is Professor of Music and Anthropology at Oxford University and a Professorial Fellow of Mansfield College. Earlier in her life she worked as a musician on cello and bass guitar, performing with the group Henry Cow, as well as with the Art Bears, the Mike Westbrook Orchestra, the Michael Nyman Band and other ensembles, as well as playing improvised music in various combinations as a member of the London Musicians’ Collective. From 2010 to 2015 Born directed the research program “Music, Digitisation, Mediation: Towards Interdisciplinary Music Studies”, funded by the European Research Council. Born has lectured internationally at institutions including Cambridge University; Girton College Cambridge; McGill University, Montreal; University of California, Berkeley; Masaryk University, Czech Republic, as well as at the University of Stockholm. She has been appointed an honorary professor at University College London, in the Department of Anthropology (2015-2019).
- Discussion and questions 4:45 pm – 5 pm 15
- Tea and coffee break 5 pm – 7 pm
Discussion Benjamin Piekut: Chair Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960, and an associate professor of musicology at Cornell University. He is the author of “Experimentalism Otherwise: The New York Avant-Garde and Its Limits” (California, 2011) and the editor of “Tomorrow Is the Question: New Directions in Experimental Music Studies” (Michigan, 2014). With David Nicholls, he co-edited a special issue of Contemporary Music Review for John Cage’s 100th birthday. He has published articles in Jazz Perspectives, The Drama Review, American Quarterly, Twentieth- Century Music, Cultural Critique, and the Journal of the American Musicological Society. Sara Villa: “Improvisatory Practices and the Dawn of the New American Cinema” Sara Villa is a visiting scholar at the International Institute for Critical Studies in Improvisation at McGill University; she was previously a postdoctoral fellow at the Centre de recherche en éthique de l’Université de Montréal, with a research project focused on the influence of improvisatory jazz practices on Beat generation poetics. She is the translator into Italian of “Windblown World: The Journals of Jack Kerouac 1947–1954”. She has published articles on Kerouac, Virginia Woolf, and Anglo-American cinema. Her monograph on the film adaptation of Woolf’s Orlando (“I due Orlando: Le poetiche androgine del romanzo woolfiano e dell’adattamento cinematografico”) was published by CUEM (Milan) in 2009.
Christopher Dell: “Improvisation Technology as Mode of Redesigning the Urban” Christopher Dell lives and works as theoretician, artist, and musician in Berlin. He has served as a visiting teacher of architecture theory at the University of Fine Arts, Berlin, and a visiting professor for urban design theory at HafenCity University, Hamburg (where he also co-led the research project University of Neighborhoods) and the Technical University, Munich. He was a member of the Aedes Network Campus Berlin executive board in 2009, and has written numerous articles and books, including “Improvisations on Urbanity” (co-authored with Ton Matton; Post, 2009); “Tacit Urbanism” (Post, 2010); “ReplayCity” (Jovis, 2011); “Die improvisierende Organisation” (Transcript, 2012); “Ware: Wohnen!” (Jovis, 2013), and “Das Urbane” (Jovis, 2014).
Harald Kisiedu: “‘Like a Cry You Wanted to Answer’: Ernst-Ludwig Petrowsky and the Emergence of Jazz Experimentalism in East Germany” Harald Kisiedu received his PhD in historical musicology from Columbia University. He also holds graduate degrees in political 16 science and German studies from the University of Hamburg. Kisiedu is currently a postdoctoral fellow at the International Institute for Critical Studies in Improvisation in Guelph, Canada, where he is working on a monograph on jazz experimentalism in West and East Germany.
Respondents Sher Doruff: “She Stuttered: Mapping the Spontaneous Middle” Sher Doruff is an interdisciplinary artist, writer, and theorist. She is currently a senior researcher at the Gerrit Rietveld Academy of Art and Design and tutors in the Master of Choreography and Master of Artistic Research programs at the Amsterdam School of the Arts and Royal Academy of Fine Art in the Hague. She teaches in the Master of Artistic Research program at the University of Amsterdam and supervises several artist PhD candidates. She is on the editorial board of Inflexions Journal of Research Creation and Fibreculture Journal and has published numerous texts in academic and artistic contexts.
Raymond Macdonald: “Billy Connolly, Daniel Barenboim, Willie Wonka, Jazz Bastards, and the Universality of Improvisation” Raymond MacDonald is professor of music psychology and improvisation and head of the Reid School of Music at Edinburgh University. He has published more than 70 papers and co-edited five texts: “Musical Identities” (Oxford, 2002), “Musical Communication” (Oxford, 2005), “Music, Health and Wellbeing” (Oxford, 2012), “Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception” (Oxford, 2012), and “The Oxford Handbook of Musical Identities” (2015). As a saxophonist and composer he has collaborated with musicians such as Evan Parker, David Byrne, Jim O’Rourke, and Marilyn Crispell. He has released more than 50 recordings and toured and broadcast worldwide. He has produced music for film, television, theater, and art installations, and is a founding member of the Glasgow Improvisers Orchestra.
Open discussion 7 pm – 7:30 pm
Concert – 48Nord Saturday, 19.11.16, 9 pm
48nord is an internationally successful musicians’ collective founded in 1998 by the composers and instrumentalists Ulrich Müller, Siegfried Rössert, and Patrick Schimanski. 48nord’s music is influenced by rock, pop, and new music, as well as by jazz and Edgar Varèse’s bruitism (the art of noise). Since the beginning of their careers, the musicians have consistently explored the creative tension between improvisation and composition, and have investigated the possibilities of new technologies in conjunction with acoustic instruments, thereby continually driving new developments in their musical experiments. 48nord surveys boundaries and boundary crossings: between genres and styles and between musical mediums and approaches. 48nord consistently 17 confronts current realities, drawing from their contradictions and thwarted purism of all kinds. Open forms confront hard-and-fast compositions with improvisational moments. Literature interweaves sound, condensing into sub- and meta texts, trailblazing as fragmented sounds. Compilation, cutting, sampling, and sound processing form the basis of the collective’s oeuvre.
Tickets Symposium: 10 € Concert: 10 € Symposium und Concert: 18 € Curatorial Dialogues. Historical Exhibitions 2 Thursday, 24.11.16, 7 pm
The second set of dialogues addresses the question of how to map “postwar” exhibitions within the context of Europe. It begins by looking at Rasheed Araeen’s groundbreaking exhibition “The Other Story: Afro-Asian Artists in ‘Post-War Britain'” (1989 at the Hayward Gallery, London), before examining Eckhart Gillen and Peter Weibel’s exhibition “Facing the Future: Art in Europe 1945- 68”, currently on view at Zentrum für Kunst und Medien in Karlsruhe.
While “The Other Story” critically examined Britain’s postcolonial history in the years 1945-1989, “Facing the Future” demonstrates the commonalities of artists working on both sides of the Iron Curtain in Europe during the postwar period from 1945-68.
Eckhart Gillen is an art historian and curator who has lived in Berlin since 1971. He studied art history, German, and sociology at the University of Heidelberg and received his PhD from the philosophy department at the University of Heidelberg. He has organized numerous exhibitions and published widely on Russian, American, and German art of the twentieth century. Among his exhibition catalogues and books are “Amerika – Traum und Depression 1920/40” (Akademie der Künste, Berlin 1980); “German Art from Beckmann to Richter: Images of a Divided Country” (Yale University Press, 1997); “Art of Two Germanys/Cold War Cultures 1945-1989” (L.A., Nuremberg, Berlin, 2009); “Feindliche Brüder? Der Kalte Krieg und die deutsche Kunst 1945-1989” (Berlin, 2009); “R.B.Kitaj – The Retrospective” (Jewish Museum Berlin, 2012); “Art in Europe 1945-1968: Facing the Future” (BOZAR, Brussels, ZKM, Karlsruhe, Pushkin Museum, Moscow, 2016/17).
Rasheed Araeen (lives and works in London and Karachi) is a civil engineer, artist, writer, and inventor. As an artist, he began and continued to pursue art while studying civil engineering at NED Engineering College in Karachi in 1953. In 1965, he pioneered minimalist sculpture in Britain. After having been active in various groups supporting liberation struggles, democracy, and human rights, he started publishing his own art journals “Black Phoenix” (1978), “Third Text” (1987), and “Third Text Asia” (2008). His latest book “Art Beyond Art / Ecoaesthetics: A Manifesto for the 21st Century” was published in 2010. He has curated the two important exhibitions “The Essential Black Art” (1987) and “The Other Story” (Hayward Gallery, 1989); and is a 18 recipient of three honorary doctorates from universities of Southampton, East London, and Wolverhampton. He is now directing a project that will revise and produce a comprehensive and inclusive history of art in postwar Britain. Tickets 5 €
Art, Culture, Media and Denazification in Germany Workshop in cooperation with the NS-Dokumentationszentrum München (Munich Documentation Centre for the History of National Socialism) Saturday, 26.11.16, 11 am As an important part of postwar German society, the process of denazification revolved around the question of guilt and responsibility, as well as its trivialization and suppression.
This workshop focuses on the denazification of cultural life in the years after World War II. It therefore concerns – in a symptomatic manner – the history of Haus der Kunst, which was built according to the plans of Hitler’s favorite architect Paul Ludwig Troost and opened in 1937 as the “Haus der Deutschen Kunst”. From 1937 to 1945, the building served as an instrument of propaganda and as the authoritative institution for Nazi art policy. Workshop participants, through historical documents including the denazification court files of protagonists, such as the architect’s widow Gerdy Troost, the sculptor Arno Breker, and Hitler’s personal photographer Heinrich Hoffmann will gain insight into the history of the institution.
What influence did – and does – the political assessment of these prominent cases have on the image of cultural actors in the postwar period? In addition, the workshop is designed to examine sensitive issues such as Nazi art looting and restitution from a contemporary perspective.
In a closing tour of the exhibition “Postwar – Art Between the Pacific and Atlantic, 1945-1965”, we will look at how the question of guilt and responsibility was investigated and treated by artists from different countries during the period between 1945 and 1965. Speakers Felizitas Raith is a historian and worked for many years at the Max Mannheimer Studienzentrum Dachau, most recently as educational director. Since 2013, she has been a research associate at the NSDokumentationszentrum München (Munich Documentation Centre for the History of National Socialism) in the field of education. Thomas Rink studied modern history and philosophy in Bochum and Potsdam. In 1999, and from 2004 to 2006, he worked at the Gedenkstätte Haus der Wannsee-Konferenz and from 2001 to 2002 he was a research associate at the Deutsches Historisches Museum for the exhibition “Holocaust”. From 2003 to 2005, Rink lectured on Jewish Studies at the University of Potsdam. Since 2006 he has been a research associate at the NS-Dokumentationszentrum München in the field of education. 19 Sabine Brantl is a historian. She studied in Munich and Vienna, and has headed the historical archive at Haus der Kunst since 2005. Since 2014, she has worked there as a curator. Brantl has co-curated exhibitions including “Histories in Conflict: Haus der Kunst and the Ideological Use of Art 1937-1955” (2012), and is responsible for the Archive Gallery a permanent exhibition space dedicated to the history of Haus der Kunst (since 2014). In 2007, she published her monograph “Haus der Kunst, Munich: A Place and its History under National Socialism.”
- Saturday, 26.11.16, 11 am
- Saturday, 18.02.17, 11 am
Duration: 4 hours Tickets 4 € (plus exhibition admission) Workshops for pupils from the tenth grade Monday, 14.11.16, 10 am Monday, 13.02.17, 10 am Duration: 4 hours Other dates can be booked on request Tickets 4 € (incl. exhibition admission) Registration: firstname.lastname@example.org
“Aida Save Me” – Lecture performance by Joana Hadjithomas and Khalil Joreige Thursday, 01.12.16, 7 pm
The films and photographs by artist and filmmaker duo Joana Hadjithomas and Khalil Joreige (both born in 1969 in Beirut) focus on the history of their native country of Lebanon. Politicized at an early age by the Lebanese civil war (1975–1990), they redefine the role of images in relation to memory and history and explore the parameters of images and their narratives. Drawing inspiration from found documents, personal archives, and poetic experience, Hadjithomas and Joreige navigate a unique route between art and cinema. The lecture performance by the artists starts with an extraordinary, unbelievable but true incident that was to disrupt the film premiere of the second feature film “A Perfect Day” by Hadjithomas and Joreige in Beirut in April 2006. It resonated strangely vis-à-vis the work of the artists. A series of disappearances followed. The lecture performance measures the distance between recognition and representation of oneself, and recounts this adventure whereby fiction has suddenly taken on the appearance of a document. Tickets 5 € 20
Discussion with Georg Baselitz and Alexander Kluge Thursday, 08.12.16, 7 pm In this rare meeting two of Germany’s leading figures of postwar art, philosophy, and cinema discuss the culture and politics of the era.
Alexander Kluge is an author, filmmaker, philosopher and theorist, and is the recipient of numerous awards for his work across multiple media. Georg Baselitz is a painter, sculptor, printmaker and draughtsman, and is one of the country’s most celebrated living artists, with a distinguished career spanning over 50 years.
Georg Baselitz, born in 1938 in Deutschbaselitz, Saxony, is a painter, graphic artist, and sculptor. Baselitz began his studies in painting at the Art Academy in East Berlin, from which he was expelled; he moved to West Berlin, where continued his studies. In 1963, the last year of his studies, his had his first exhibition – in the Berlin gallery Werner & Katz – which provoked a scandal. Following a scholarship at the Villa Romana in Florence, in 1965- 66, he created the major series “Helden” and “Neuen Typen”. In 1969 he made the permanent shift to painting his motifs upside down. In 2005 he created his first works based on his “remix” method. In 1972 he participated in the documenta 5 in Kassel, and in 1980 he exhibited his “Modell für eine Skulptur” in the German Pavilion at the Venice Biennale. Major retrospectives in recent years include shows at the Royal Academy of Arts in London (2007) and the Musée d’Art Moderne in Paris (2011). Among many other honors, he received the Praemium Imperiale in Tokyo of 2004. Alexander Kluge (Author and filmmaker) (Bios to follow) Tickets 5 € 2017
Inside the City – A Tour of Postwar Munich Monday, 16.01.17, 4:30 pm With Iris Lauterbach, Zentralinstitut für Kunstgeschichte, Munich; and Sabine Brantl, Curator Archive Haus der Kunst The tour focuses on Haus der Kunst, the Zentralinstitut für Kunstgeschichte (formerly “Verwaltungsbau der NSDAP”), and the Hochschule für Musik und Theater (formerly “Führerbau”). It thus leads participants into buildings that occupied a key position in the cultural life of postwar Munich but were also intimately connected to the city’s National Socialist past.
The tour provides insight into the original programming of these buildings as instruments of Nazi propaganda, their conception as architectural and technical Gesamtkunstwerks and the history of 21 their specific usage after 1945. Tour participants will also have the opportunity to view nonpublic spaces such as the historical heating rooms and extensive air-raid shelter. Built between 1933 and 1937 according to plans by Hitler’s favorite architect Paul Ludwig Troost, the “Haus der Deutschen Kunst” and the party buildings on the Königsplatz were the Nazi’s first representative building projects in Germany and served as the demonstration of Nazi art policy and the NSDAP’s representation and administration. In 1945 in the former party buildings, the American military government established the Munich Central Collecting Point, the largest American art collection point of art looted by the National Socialists.
While the Zentralinstitut für Kunstgeschichte has been based in the former “Verwaltungsbau” since 1947, in 1948 Amerika-Haus opened its doors in the former “Führerbau”. Since 1957, it has housed the Hochschule für Musik und Theater. The American military government initially used the former “Haus der Deutschen Kunst” as an officers’ club; and since 1946 exhibitions have once again been staged here. As with much of the culture in Germany, a connection to international Modernism was sought here as well. Iris Lauterbach is a research fellow at the Zentralinstitut für Kunstgeschichte, Munich. Her research interests include architecture and visual arts in the Nazi period and the cultural policies of the American military government after 1945. Her seminal monograph,
“Der Central Collecting Point in München. Kunstschutz, Restitution, Neubeginn”, on the Munich Central Collecting Point and United States restitution policy, was published in 2015.
Meeting point: Foyer Haus der Kunst Space is limited – registration: email@example.com Tickets 12 €
Impulses – “Reeducation” and Exhibition Policy in Postwar Munich Seminar with Iris Lauterbach, Zentralinstitut für Kunstgeschichte Tuesday, 24.01.17, 6 pm Moderator: Sabine Brantl, Curator Archive, Haus der Kunst Art exhibitions and the promotion of fine arts were essential components of Allied postwar policy.
The slogan “reeducation” also characterized the artistic and cultural scene in the American zone of occupation. Abstraction and Modernism were intended to help overcome the cultural isolation imposed by the National Socialists and explicitly combat their understanding of art and their cultural policies. Important venues of resurgent exhibition operations in the early postwar years were the Munich Central Collecting Point and the Amerika-Haus in the former NSDAP buildings on the Königsplatz. 22
The seminar focuses on the location, staff, and exhibition activities of these institutions in the years between 1945 and 1949. Individual exhibitions are examined as examples based on historical documents and photographs. Iris Lauterbach is a research fellow at the Zentralinstitut für Kunstgeschichte, Munich. Her research interests include architecture and visual arts in the National Socialist period and the cultural policies of the American military government after 1945. Her seminal monograph, “Der Central Collecting Point in München. Kunstschutz, Restitution, Neubeginn”, on the Munich Central Collecting Point and United States restitution policy, was published in 2015. Tickets 5 €
Talks & Tours of the exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” with Rabih Mroué Tuesday, 17.01.17, 6:30 pm A tour of the exhibition “Joana Hadjithomas & Khalil Joreige: Two Suns in a Sunset” with Haus der Kunst curator Anna Schneider and actor and director Rabih Mroué.
In place of a conventional tour, Talks & Tours offers exhibition visitors the opportunity to discuss aspects of the artists’ work in a conversation with Anna Schneider and Rabih Mroué. Rabih Mroué (lives and works in Beirut) is an actor, director, playwright, and visual artist. He is a contributing editor for “The Drama Review” (TDR), the quarterly “Kalamon” and cofounder and a board member of the Beirut Art Center (BAC), Beirut. His complex and diverse practice, spanning different disciplines and formats in between theater, performance, and visual arts, has established Mroué as a key figure amongst a new generation of artistic voices in Lebanon.
Employing both fiction and in-depth social analysis as tools for engaging with his immediate reality, Mroué explores the responsibilities of the artist in communicating with an audience in given political and cultural contexts. His works deal with issues that have been swept under the rug in Lebanon’s current political climate, connected to the enduring marks left by the Lebanese civil war as well as more recent political events like the Arab Spring and the Syrian civil war. His works have received several awards and were exhibited at dOCUMENTA (13), Kassel; ICP Triennial, New York; CA2M Centro de Arte Dos de Mayo; The Museum of Modern Art, New York; and Centre Pompidou, Paris. He worked together with Joana Hadjithomas and Khalil Joreige on many films among them “Ashes/Ramad” and “Je veux voir” (“I Want To See”, 2008). Tickets 14 € (Tour incl. exhibition visit)
Artwork in the Header
Berlin, 64, 1964
105 x 121 x 18 cm, Relief, paper, iron, mixed media on wood, Courtesy Fondazione Emilio e Annabianca Vedova, Venice, Italy, Photo © Paolo Mussat Sartor