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Afterfacts Innenteil Cover Web.Pdf INHALTSVERZEICHNIS / TABLE OF CONTENTS VORWORT 4 PREFACE EINLEITUNG 10 INTRODUCTION AUSSTELLUNGS- 16 INSTALLATION ANSICHTEN VIEWS DREI ROUNDTABLE- 36 THREE ROUNDTABLE GESPRÄCHE DISCUSSIONS 01. MODE UND 37 01. FASHION AND WERBUNG ADVERTISEMENT 02. GEMEINSCHAFTS- 51 02. FORMING A BILDUNG COMMUNITY 03. ARTE(FAKT) 67 03. ARTE(FACT) NOW, PUDDING IS POP 82 NOW, PUDDING IS POP COCA COLA UND 90 COCA COLA AND KARL MARX KARL MARX PETER ROEHR 98 PETER ROEHR BILDERESSAY PICTURE ESSAY FAKE 122 FAKE WALKING THROUGH 144 WALKING THROUGH THE CLOUDS THE CLOUDS BIOGRAFIEN DER 162 ARTIST BIOGRAPHIES KÜNSTLER_INNEN UND AND WORK WERKBESCHREIBUNGEN DESCRIPTIONS VORWORT PREFACE DE Ende der 1960er, Anfang inzwischen komplett digitalisiert der 1970er Jahre erprobten worden ist. Roehr, der in Frankfurt Künstlerinnen und Künstler gelebt und gearbeitet hat und zu neue Wege, um in öffentliche den bedeutendsten Wegbereitern Auseinandersetzungen einzugrei- der Concept- und Pop Art in fen, nicht nur innerhalb, sondern Deutschland gehört, reflektierte die auch außerhalb der Museums- und Warenförmigkeit von Kunst auf Ausstellungsinstitutionen. Dafür unterschiedliche Weise, nicht nur nutzten sie unterschiedliche künstle- in seinen seriellen Reihungen, rische Artikulationen, etwa Perfor- auch mit seinen Vermarktungsstrate- mances, Filmscreenings, Gespräche gien und Positionierungsweisen oder Workshops und machten sich im künstlerischen Feld. verschiedene Handlungsfelder zu Anders als die zahlreichen eigen, so auch kommerzielle Laden- Rekonstruktionen kanonisch gewor- flächen. Inzwischen gehört die dener Ausstellungen oder die Teil- permanente Ausweitung des künst- rekonstruktionen historischer Raum- lerischen Feldes und mit ihr einher- situationen, Bilderwände oder gehend die Suche nach immer neuen Sammlungspräsentationen, die in Interventionsformaten und -orten den letzten Jahren in Museen zu den täglichen Herausforderungen und Ausstellungen vorgenommen der kuratorischen Arbeit. worden sind, ging es bei der Ausstel- Für die Ausstellung After facts – lung After facts – Pudding Explosion Pudding Explosion rearticulated war rearticualted nicht um ein Zitieren der Headshop „Pudding Explosion“, oder gar Erlebbarmachen eines den der Konzeptkünstler Peter Roehr historischen Moments. Vielmehr zusammen mit dem späteren Gale- diente der Headshop von Roehr und risten Paul Maenz im Januar 1968 in Maenz als Anregung und Referenz, der Frankfurter Innenstadt eröffnete, um aus heutigen künstlerischen Ausgangspunkt der kuratorischen Perspektiven die gegenwärtigen Überlegungen. Die Masterklasse 2016 Mechanismen des Informations- und der Frankfurter Curatorial Studies Warenaustausches in den Blick zu stieß auf den Headshop im Rahmen nehmen und das problematische Mit- ihrer Recherchen in dem über 2.500 und Gegeneinander von Meinungen Dokumente umfassenden Archiv und Fakten im Zeitalter weltweiter Peter Roehr (1944–1968), das 2011 digitaler Netzwerke und ihrer drama- als Schenkung von Paul Maenz tischen politischen Herausforderun- an das MMK Museum für Moderne gen zu befragen. Frankfurt am Main gelangte und 4 Stefanie Heraeus / Philippe Pirotte / Fabian Schöneich Preface 5 Die Ausstellung After facts – die Realisierung der Publikation und EN At the end of the ’60s reflected on art as a form of com- Pudding Explosion rearticulated die Textredaktion gekümmert haben. and beginning of the modity in a variety of ways, not only ist das vierte Jahrgangsprojekt, das Unser Dank gilt Mario Kramer ’70s, artists were experiment- in his serial sequences, but also in Studierende der Frankfurter Curato- und Nadine Hahn für die Einführung ing with new forms of inter- his marketing strategies and ways rial Studies gemeinsam als Gruppe in das Archiv Peter Roehr, ebenso vening in public debates, not only of positioning himself in the artistic erarbeitet haben. 2013 kuratierten wie Peter Gorschlüter für die within a museum and exhibition field. Studierende ein Performance- und Leihgaben des MMK Museum für context but also beyond it. They set Unlike the many reconstructions Filmprogramm für einen Penetrável Moderne Kunst Frankfurt am Main. about doing this through different of canonical exhibitions or partial von Hélio Oiticica im Rahmen der Paul Maenz gebührt besonderer modes of artistic articulation includ- reconstructions of historically signifi- Retrospektive Hélio Oiticica – Das Dank: Dafür, dass er das Archiv ing performance, film-screenings, cant spaces, walls of artworks, and große Labyrinth des MMK Museum Peter Roehr aufgebaut, Jahrzehnte talks, and workshops, embracing var- presentations of collections carried für Moderne Kunst Frankfurt am lang erweitert und schließlich öffent- ious spheres of action as their own, out in museums and galleries in Main; 2014 die Kabinettausstellung lich zugänglich gemacht hat und even commercial spaces. By now, the recent years, After facts – Pudding Vergessene Körper: Helmut Kolle und dass er sich für ein Interview zur expansion of the artistic field and Explosion rearticulated did not Max Beckmann im Städel Museum, Verfügung gestellt hat. Unser Dank the accompanying search for ever attempt to quote a historical moment Frankfurt am Main; und 2015 geht auch an Horst Trebor Kratzmann new sites and forms of intervention or make it experienceable. Roehr konzipierte ein weiterer Jahrgang die und Karsten von Riese für die counts among the daily challenges and Maenz’s head shop served much Ausstellungsserie Doppelzimmer Bereitstellung des historischen Foto- of curatorial work. more as an impulse and a point of für das Zwischengeschoss 3 ½ der materials. Auch danken wir herzlich For the exhibition After facts reference with which to examine KW Institute for Contemporary Art, Heinz Drügh, Antje Krause-Wahl – Pudding Explosion rearticulated, from a contemporary artistic perspec- Berlin. Nachdem diese Jahrgangspro- und Ellen Wagner für ihre anregen- the head shop Pudding Explosion’ — tive the current dynamics of informa- jekte in Museums- und Ausstellungs- den Essays. Anna Siebold hat opened by the artist Peter Roehr tion and commodity exchange and institutionen stattgefunden hatten, die Texte lektoriert, Stanton Taylor, in collaboration with the later galler- to question the unstable coexistence war es der ausdrückliche Wunsch Philipp Rühr und ihr Team haben ist Paul Maenz in 1968 — serves of opinions and facts in the age der Studierenden, das Jahrgangspro- sie ins Englische übersetzt. as the starting point of curatorial of worldwide digital networks and jekt 2016 nicht in einer Institution, Benjamin Franzki, Philipp Möller reflection. The 2016 Frankfurt the dramatic political challenges sondern in einem leerstehenden und Jan Münz haben die Publikation Curatorial Studies master class they pose. Ladenlokal – in einer ehemaligen gestaltet. Ihnen allen gilt unser encountered the head shop in their The exhibition After facts – Apotheke im Frankfurter Westend – herzlicher Dank – und ganz beson- research through the Archiv Peter Pudding Explosion rearticulated is zu realisieren, nicht zuletzt, um die ders: den beteiligten Künstlerinnen Roehr (1944–1968), which con- the fourth year group project by ursprüngliche Konzeption des und Künstlern. tains more than 2,500 documents. students of the Frankfurt Curatorial Headshops deutlicher aufzugreifen. The archive was donated to the Studies program, which they pro- Mit großem Engagement haben MMK Museum für Moderne Kunst duced together as a group. In 2013, die Studierenden das Projekt entwi- Frankfurt am Main by Paul Maenz the students curated a performance ckelt und umgesetzt, ebenso wie in 2011 and has since been fully and film program for a Penetrável by die vorliegende Publikation. Beson- Stefanie Heraeus digitized. Having lived and worked Hélio Oiticica on the occasion of ders hervorzuheben sind Line Ebert Philippe Pirotte in Frankfurt as a pioneer of concep- the Hélio Oiticica retrospective at the und Kerstin Renerig, die sich um Fabian Schöneich tual and pop art in Germany, Roehr MMK Museum für Moderne Kunst 6 Preface 7 Frankfurt am Main, entitled Hélio Peter Roehr, expanding it for Oiticica – The Great Labyrinth; in decades, opening it up to public use, 2014 they curated the exhibition and making himself available for Vergessene Körper: Helmut Kolle und an interview. We would also like to Max Beckmann [Forgotten Bodies: thank Horst Trebor Kratzmann Hemut Kolle and Max Beckmann] and Karsten von Riese for providing at the Städel Museum, Frankfurt am the historical photographic docu- Main; in 2015 another year group mentation. Our thanks also extend to conceptualized the exhibition series Heinz Drügh, Antje Krause-Wahl, and Doppelzimmer [Double Room] Ellen Wagner for their stimulating for the mezzanine floor 3 ½ at the essays. Anna Siebold edited the texts, KW Institute for Contemporary while Stanton Taylor, Philipp Rühr Art, Berlin. Following the year and their team translated them group projects that had taken place into English. Benjamin Franzki, in museum and exhibition contexts, Philipp Möller, and Jan Münz it was the express wish of the designed the publication. We are AUSSENANSICHT DER LÄDEN / EXTERIOR VIEW OF THE STORES “PUDDING EXPLOSION” UND / AND “LOLLIPOWSKA”, 1968 students to realize the 2016 project grateful to all of them — especially Foto / photo © Karsten de Riese in an empty storefront rather than the participating artists. an institution — a former pharmacy in Frankfurt Westend — not least to better engage with the original con- cept of the head shop. The students developed and implemented this project
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