Radio-Aktivität Kollektive Mit Sendungsbewusstsein
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Cosmonauts of the Future: Texts from the Situationist
COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence Permalink https://escholarship.org/uc/item/2c73n9k4 Author Boyle, Michael Shane Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence By Michael Shane Boyle A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Anton Kaes Professor Shannon Steen Fall 2012 The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence © Michael Shane Boyle All Rights Reserved, 2012 Abstract The Ambivalence of Resistance West German Antiauthoritarian Performance After the Age of Affluence by Michael Shane Boyle Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Jackson, Chair While much humanities scholarship focuses on the consequence of late capitalism’s cultural logic for artistic production and cultural consumption, this dissertation asks us to consider how the restructuring of capital accumulation in the postwar period similarly shaped activist practices in West Germany. From within the fields of theater and performance studies, “The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence” approaches this question historically. It surveys the types of performance that decolonization and New Left movements in 1960s West Germany used to engage reconfigurations in the global labor process and the emergence of anti-imperialist struggles internationally, from documentary drama and happenings to direct action tactics like street blockades and building occupations. -
MUNICH POP. Der Maler Michael Langer Und Sein "Absurder
MUNICH POP Der Maler Michael Langer und sein „absurder Realismus“ 1965–69 Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Luisa Nicolina Seipp aus München 2021 Erstgutachterin: Prof. Dr. Burcu Dogramaci Zweitgutachter: Prof. Dr. Andreas Kühne Tag der mündlichen Prüfung: 22.01.2020 Michael Langer in seinem Atelier in München-Schwabing, 1967. Abb. in: Keller 1968, S. 40 TEIL I.: TEXT 1. Einleitung 1.1. Utopien, Krawalle und Krautrock – Michael Langer, München und die 1960er Jahre.......................................................................................................................1 1.2. Forschungsüberblick..............................................................................................6 1.3. Fragestellung und Methodik................................................................................13 1.4. “What is Pop Art?” Definition und Eingrenzung von Pop-Art…...……………19 2. Das Frühwerk und die Suche nach der verloren gegangenen Figuration...22 2.1. L’art informel und ihr vermeintliches Freiheitsversprechen: Die Ausgangssituation................................................................................................23 2.2. Kunstpolitischer Protest und groteske Köpfe: Langers Wiederentdeckung der menschlichen Form..............................................................................................32 2.3. Targets und der Aufbruch zum Pop....................................................................47 3. Der -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context. -
Situationist
Situationist The Situationist International (SI), an international political and artistic movement which has parallels with marxism, dadaism, existentialism, anti- consumerism, punk rock and anarchism. The SI movement was active in the late 60's and had aspirations for major social and political transformations. The SI disbanded after 1968.[1] The journal Internationale Situationniste defined situationist as "having to do with the theory or practical activity of constructing situations." The same journal defined situationism as "a meaningless term improperly derived from the above. There is no such thing as situationism, which would mean a doctrine of interpretation of existing facts. The notion of situationism is obviously devised by antisituationists." One should not confuse the term "situationist" as used in this article with practitioners of situational ethics or of situated ethics. Nor should it be confused with a strand of psychologists who consider themselves "situationist" as opposed to "dispositionist". History and overview The movement originated in the Italian village of Cosio d'Arroscia on 28 July 1957 with the fusion of several extremely small artistic tendencies, which claimed to be avant-gardistes: Lettrist International, the International movement for an imaginist Bauhaus, and the London Psychogeographical Association. This fusion traced further influences from COBRA, dada, surrealism, and Fluxus, as well as inspirations from the Workers Councils of the Hungarian Uprising. The most prominent French member of the group, Guy Debord, has tended to polarise opinion. Some describe him as having provided the theoretical clarity within the group; others say that he exercised dictatorial control over its development and membership, while yet others say that he was a powerful writer, but a second rate thinker. -
Press Release Asger Jorn
Press Release Asger Jorn The Prints March 23―June 30, 2019 Mönchsberg [4] A twofold premiere: the first comprehensive retrospective of the work Press of Asger Jorn (1914 Vejrum, DK―1973 Aarhus, DK) in Austria will also Mönchsberg 32 be the first exhibition outside Denmark to present the artist’s entire 5020 Salzburg printed oeuvre. Austria T +43 662 842220-601 Salzburg, March 22, 2019. In the exhibition Asger Jorn. The Prints, the F +43 662 842220-700 Museum der Moderne Salzburg presents around 550 works of graphic art by [email protected] the preeminent Danish visual artist, including lithographs, woodcuts, www.museumdermoderne.at etchings, linocuts, silkscreen prints, and potato prints. “As with past exhibition projects, we are drawing on our own collection; fine art prints make up half of our holdings, and among them are works by Asger Jorn given to the museum by its founding director, Otto Breicha, that are now on view in our galleries. A generous loan from the Museum Jorn enables us to show the complete set of ca. 550 prints, the first such presentation anywhere in the world,” Thorsten Sadowsky, director of the Museum der Moderne Salzburg, notes. An ensemble of fifty-two works dating from between 1933 and 1939 that were recently rediscovered in Denmark and have been on public display only once is also on its way to Salzburg. Complementing his work in painting—and, to Jorn’s mind, in no way secondary to it—the prints he created between the 1930s and 1970s bear witness to the artist’s zest for experimentation and his interest in the potentials of his materials as well as his prodigious fabulist’s imagination and wit. -
Auktionskatalog Die Objekttitel Anklicken Um Ein Ausführliches Expose Des Objektes (PDF-Format Inklusive Bilder) Von Unserem Webserver Abzurufen
Kunst- und Auktionshaus Eva Aldag 189. Kunst Auktion am 25.05.2013, Beginn 11:00 Uhr Vorbesichtung vom 21.05.2013 bis 24.05.2013 jeweils von 10 - 19 Uhr sowie 2 Stunden vor Auktionsbeginn Katalog-Nr.: 49 Lovis Corinth (1858 - 1925) - Öl auf Leinwand, "Stehender, weiblicher Halbakt" INHALTSVERZEICHNIS Gemälde 1 - 294 294 Objekte Graphik 295 - 387 93 Objekte Bronzen 397 - 416 16 Objekte Silber 422 - 642 221 Objekte Porzellan 645 - 787 142 Objekte Glas 791 - 884 94 Objekte Möbel 894 - 954 61 Objekte Spiegel 960 - 970 11 Objekte Asiatika 975 - 1007 32 Objekte Kleinkunst 1008 - 1059 47 Objekte Teppiche 1060 - 1068 9 Objekte Schmuck 1070 - 1166 97 Objekte Uhren 1167 - 1176 10 Objekte Lampen 1177 - 1209 33 Objekte Bücher 1210 - 1249 40 Objekte Künstlerindex TIPP: Sie können im nachfolgenden Auktionskatalog die Objekttitel anklicken um ein ausführliches Expose des Objektes (PDF-Format inklusive Bilder) von unserem Webserver abzurufen. Zurück zum Inhaltsverzeichnis Katalog erstellt am 13.05.2013 auf www.auktionshaus-aldag.de - Seite 1 von 142 Ottensener Weg 10, 21614 Buxtehude, Telefon 04161-81005, Telefax 04161-86096, eMail [email protected] Kunst- und Auktionshaus Eva Aldag Gemälde 1 Paul Paeschke (1875 - 1943) - Öl auf Leinwand, "Russischer Markt" 950,00 EUR unten links handsigniert "Paul Paeschke", verso auf dem Keilrahmen alter Ausstellungs-Aufkleber Nr. 664, "buntes Markttreiben mit reicher Figurenstaffage", guter Erhaltungszustand - gerahmt, Bildmaße: 86cm x 110cm, Gesamtmaße: 91cm x 116cm Klicken Sie hier für weitere Informationen zum Künstler 2 Adolf Baumgartner (1850 - 1924) gen. Constantin Stoiloff - Öl auf Leinwand, "Silbertransport in der ... 3.500,00 EUR unten links handsigniert "A. -
The Assault on Culture: Utopian Currents from Lettrisme
THE ASSAULT ON CULTURE Utopian currents fromLettrisme to Class War STEWART HOME A.K. Press • Stirling • 1991 British Library Cataloguing in Publication Data Home, Stewart, 1962- The assault on culture: utopian currents from Lettrisme to class war.-2nd ed. I. Avant garde style. History I. Title 700.904 ISBN 1-873176-35-X ISBN 1-873176-30-9 pbk Typeset by Authority, Brixton. First published by Aporia Press and Unpopular Books, I 988. Second edition published by AK Press 1991. This edition published by AK Press, PO Box 12766, Edinburgh, EH8 9YE. "Our programme is a cultural revolution through atotal assault on culture, which makes use of every tool, every energy and every media we can get our collective hands on ... our culture,our art, the music, newspapers, books, posters, our clothing, our homes, the way we walk and talk, the way our hair grows, the way we smoke dope and fuck and eat and sleep - it's all one message - and the message is FREEDOM." John Sinclair, MinistryOf Information,White Panthers. "Frankly, all he asked fornow was an opportunity to ingratiate himself with the Black Panthers and uncover the man behind the scenes. Hartha d been right about this. There were whites actively engaged in supplying facilities, legal advice, aidfor the 'cell'. Liberals theywere called. Some were honest citizens trying to carry throughthe may or's instructions thatpeace depended upon total, unbiased co-operation between New York's polyglot millions. Others had a stake in anarchy - destruction being their aim, civil strife theirimmediate target. And, too, there were theMafia with tentacles waving fora share of the lucrative drug traffic. -
Expect Anything Fear Nothing the Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1
ExpEct anything FEar nothing The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 ExpEcT AnyThing Fear noThing 2 ExpEcT AnyThing Fear noThing The Situationist Movement in Scandinavia and Elsewhere 3 ExpEcT AnyThing Fear noThing ThE SiTuaTionist MovemenT in Scandinavia and Elsewhere ExpEcT AnyThing Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen Fear noThing Published 2011 by nebula in association with autonomedia Nebula Autonomedia ThE SiTuaTionist MovemenT læssøegade 3,4 Po Box 568, williamsburgh Station dK-2200 copenhagen Brooklyn, nY 11211-0568 denmark uSa in Scandinavia www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] and Elsewhere Tel/Fax: 718-963-2603 iSBn 978-87-993651-2-8 ISBn 978-1-57027-232-5 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Copyeditor: Marina vishmidt | design: Åse Eg | Inserts: Mikkel Bolt Rasmussen & Jakob Jakobsen | Proofreading: Mikkel Bolt rasmussen Matt Malooly | Printed by: naryana Press in 2,000 copies | web: destroysi.dk & Jakob Jakobsen Thanks to: The Situationists Fighters (Mie lund hansen, anne Sophie Seiffert, Magnus Fuhr, Robert Kjær clausen, Johannes Balsgaard, Samuel willis nielsen, henrik Busk, david hilmer Rex, Tine Tvergaard, anders hvam waagø, Bue Thastrum, Johannes Busted larsen, Maibritt Pedersen, Kate vinter, odin Rasmussen, Tone andreasen, ask Katzeff and Kirsten Forkert), Peter laugesen, Jacqueline de Jong, Gordon Fazakerley, hardy Strid, Stewart home, Fabian Tompsett, Karen Kurczynski, lars Morell, Tom Mcdonough, Zwi & negator, lis Zwick, ulla Borchenius, henriette heise, Katarina Stenbeck, Stevphen Shukaitis, Jaya Brekke, James Manley, Matt Malooly, Åse Eg and Marina vishmidt. cover images: detourned photo by J.v. Martin of François de Beaulieu, René vienet, J.v. -
Radio-Activity Collective Approaches to Art and Politics
RADIO-ACTIVITY COLLECTIVE APPROACHES TO ART AND POLITICS 18 February – 23 August 2!2! INTROD"CTION Taking its cue from Bertolt Brecht's theory of radio, the exhibition Radio-Activity turns the spotlight on artistic and political collectives that launched their own publications and charted new channels of communication. "It is a very bad thing," Brecht said in 1932 about the radio of his time. "It was suddenly possible to say everything to everybody but, when one thought about it, one had nothing to say." Ten years after the $rst public radio broadcasts, a disillusioned Brecht proposed repurposing the new medium, transforming an apparatus of distribution into one of communication. Instead of merely broadcasting a single feed, it was to receive as well% more than making hearers listen, it would empower them as speakers and producers. Brecht's ideas for an "uprising of the listeners" came at the exact moment when radio broadcasting in &ermany was brought under state control and increasingly taken into service as an instrument of propaganda. 'tarting in the late !()s, Brecht's theory of radio sparked a vigorous debate. The concern at the heart of his critique had lost none of its urgency+ Who determines how a society makes sense of the world? Who speaks, and who is spoken to- The utopian vision of boundless communication untainted by relations of power was electrifying. The exhibition puts the focus on pro.ects from the 1920s/30s and the !()s/70s, when various collectives emerged that, instead of accepting language and the societal status *uo as a given, aimed to rethink them and pioneer forms of anti/ national and international communication. -
Exhibiton Reader
Initimate Wine Reception curated by Melissa Sachs and Cameron Soren Selected Texts Bruno Pelassy Air de Paris - 32, rue Louise Weiss, Fr-75013 Paris, France - T.+33 (0)1 44 23 02 77 - [email protected] - www.airdeparis.com Bruno Pélassy - Centre d’art contemporain d’Ivry - le Crédac Link to video Georgina Starr The Opening Ceremony performance of Georgina Starr’s exhibition, Before Le Cerveau Affame at Cooper Gallery in Dundee on 10th October 2013. Curated by Sophia Yadong Hao. Written, choreographed and directed by Georgina Starr. Link to video GEORGINA STARR the betrayal of identity by the mass media In The Bunny Lakes are Missing installation at Pink- summer Genoa, 2000??, Starr created an allegorical installation based on Otto Preminger’s 1965 thriller Bunny Lake is Missing. Preminger’s film is set in Lon- don where an American single mother arrives with her four-year-old daughter. We never see her child, even when she is supposedly dropped off at a nursery school, and when she goes missing the police and the viewers are left in some doubt as to whether she ever existed. Starr’s The Bunny Lakes are Missing is not an appropriation in the sense that Hans Haacke, Victor Burgin and Barbara Kruger appropriated mass media in the late 1970s and 1980s. It is instead a poetic inter- pretation and intermixing of Preminger’s concept with many other intertextual threads including Peter Bog- danovich’s film Targets, 1967, Starr’s childhood and adolescence and more general reflections on female identity within a postindustrial world saturated with cinematic, televisual and commercial representations of femininity.