DEBATE, LECTURES, BOOKPRESENTATION, READING

with GERRY BIBBY, BILL DIETZ, DANNY HAYWARD, KARL HOLMQVIST, MARINA VISHMIDT, KERSTIN STAKEMEIER, and TANJA WIDMANN

 

Saturday, January 20th, 2018, from 2pm

 

2 pm TOUR THROUGH THE EXHIBITION WITH THE CURATORIAL TEAM (German)

 

3 pm INTRODUCTION (German/English)

 

3.15 pm ON ENTGRENZTER FORMALISMUS  BILL DIETZ in conversation with KERSTIN STAKEMEIER (German)

In Entgrenzer Formalismus Kerstin Stakemeier traces anti-modern forms of aesthetic praxis. From them she lays out an art history of self-abolition. Proceeding from the occult Symbolism of the late 19th century a contemporary aesthetic is proposed which refuses its modern heritage, degenerates it, makes it indecent, and collectivizes ist individualisms. An aesthetic in which art is proposed as a genuinely anti-social operation against the present. In the book the artists discussed by Stakemeier in many instances comment on her reading of their praxis. Bill Dietz, himself an author and composer will speak with her about the implications and outcomes of such an art of self-abolition. Together they will discuss the consequences of such an anti-systemic aesthetic.

Bill Dietz is a composer and writer, based since 2003 in Berlin. Since 2012, he has been co-chair of Music/Sound in Bard College’s MFA program. His work on the genealogy of the concert and the performance of listening has brought him to festivals such as MaerzMusik and die Donaueschinger Musiktage, museums such as Hamburger Bahnhof, Tate Modern and das Museo de Arte Contemporáneo de Oaxaca,, and publications such as Performance Research Journal, boundary 2, and the 2014 Whitney Biennial catalogue. In 2015 Tutorial Diversions came out and in 2017 Lécole de la claque, a collection of scores and essays on them by Chris Mann, MYSTI, Rachel O'Reilly. Kerstin Stakemeier (Berlin/Nuremberg) is part of KLASSENSPRACHEN. She was the initiator of the Aktualisierungsraum (07/08) Hamburg (with Nina Köller), with Manuela Ammer realized the Conference But Something is Missing. Marxist Art History between Possibility and Necessity at mumok, Vienna (2015) and published a.o. anthologies like Painting-The Implicit Horizon (with Avigail Moss, 2012). She is a professor of art theory and mediation at the Academy of Fine Arts Nuremberg. 2016 Reproducing Autonomy (with Marina Vishmidt, textem/mute) came out. Entgrenzter Formalismus (b_books) is her first monograph.

 

4.15 - 4.30 pm Break

 

4.30 pm TAXONOMIES OF SELFDESOLUTION, Talk with MARINA VISHMIDT and DANNY HAYWARD (English)

In their talk Danny Hayward and Marina Vishmidt will discuss a taxonomy of self-dissolutions throughout the political spectrum and across class lines - the felt desire for an overcoming of the subject and the cultural representation of those desires. They will probe the question of what the language of proletarian self-dissolution might look like, and how the language of proletarian self- dissolution might sound.

Danny Hayward lives in London and writes poetry and political texts for Mute and other conglomerates. His recent poem about masked headless chickens and what happens when fascists open an art gallery next door is published by Shit Valley (2017). 2013 People (Mountain Press), a compendium of poems, essays, and drama was published. Marina Vishmidt is a writer. She is a Lecturer in Culture Industry at Goldsmiths, University of London and runs a Theory seminar at the Dutch Art Institute. Her work has appeared in South Atlantic Quarterly, Ephemera, Afterall, Journal of Cultural Economy, Australian Feminist Studies, and Radical Philosophy, among others, as well as a number of edited volumes. She is the co-author of Reproducing Autonomy (with Kerstin Stakemeier, Mute, 2016), and is currently completing the monograph Speculation as a Mode of Production (Brill, 2018).

 

6 pm TELL ME ABOUT IT – DESCRIBING IN OUTS, GERRY BIBBY and TANJA WIDMANN in conversation (English)

The allegedly neutral and standardized “work description” is ubiquitous in relation to art works: We encounter it in wall texts, in criticism and in the context of art education. Mostly, it is considered a necessary evil, a means to an end or as tedious groundwork for the shaping of opinion. Conversely, one may claim work descriptions as the foundation of any communication about art: What they acknowledge or ignore, how they evaluate and structure, which (language) barriers they create or remove, determines access to the work in question. In this open format Bibby and Widman each present to one another a “work” of their choosing and discuss the aesthetic, social and personal functions of work descriptions as a process in which the real and the fictional, the self and the other can enter into new and unexpected connections.

Tanja Widmann works as an artist and writer and teaches at the University for applied Arts Vienna. Widmann’s practice of installation Art targets the interrelations of language, affect and subject formation and the artwork as the site of economic and symbolic value production. Her works were shown at: Nous Moules, c/o Kunstbüro, Vienna, Tomorrow today, Emanuel Layr, Vienna, Destination Vienna, Kunsthalle, Vienna, Unrest of Form. Imaginations of the political subject. Secession, Vienna, eine von euch Grazer Kunstverein, Graz, Badischer Kunstverein, Karlsruhe, Manifesta8, Murcia. In 2016 she initiated the workshop "Post-apocalyptic Self-reflection" together with Barbara Reisinger at the University of applied Arts, Vienna, 2017 with Tonio Kröner the event series "Postapocalyptic Realism" at Museum Brandhorst in Munich. Her publications include Tanja Widmann/Helmut Draxler (eds.): "Ein kritischer Modus? Die Form der Theorie und der Inhalt der Kunst" and the artist book "To Make Oneself Similar. Clever & Smart. Nr. 38". Gerry Bibby works between the boundaries of language, performance and sculpture. In the last years he increasingly engaged with different text forms: from stories and scientific reports to manuals and poems. 2014 his artist book The Drumhead (Sternberg Press) was published. His works were most recently shown at Deborah Schamoni (Munich); Taylor Macklin (Zurich), the Showroom (London) and in various group shows a.o. Section Litteraire, Kunsthalle Bern, Swiss Institute Rome and the Biennale of Sydney’s Bureau of Writing, at Artspace, Sydney. He is currently co-Editor of the Berlin magazine Starship.

 

7 pm STAIRCASE MYSTERY, reading by KARL HOLMQVIST (English) 

Swedish-born, Berlin-based artist Karl Holmqvist uses a wide range of formats – poetry readings, installation and sculpture — to bring out the primal qualities of language. In his hands, news articles, conversation snippets, and pop lyrics form a textual mesh and blend into a multiplicity of private indictments, incitements, and convictions, decoding and recoding the experiential and communicative possibilities of reading, listening and seeing.

 

 € 5.- / € 3.- reduced / members free

The events are part of CLASS LANGUAGES – Exhibition, Magazine, Debate on view November 11th 2017 - February 4th 2018 at Kunstverein fuer die Rheinlande und Westfalen.