Heimrad Prem Und Lothar Fischer
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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. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
Curriculum Vitae
H A I N E S G A L L E R Y DAVID NASH Born in Surrey, England, 1945 Lives and works in Blaenau Ffestiniog, North Wales, UK EDUCATION 1965 Kingston College of Art, UK 1970 Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 2019 David Nash: 200 Seasons, Towner Art Gallery, Eastbourne, UK David Nash: Trees, Galerie Lelong & Co., Paris, France David Nash: Sculpture through the Seasons, National Museum Cardiff, Wales 2018 Tout jaune, Galerie Simon Blais, Montreal, Canada Columns, Galerie Lelong & Co., Paris, France David Nash: Nature to Nature, Fondation Fernet-Branca, Saint-Louis, France David Nash: Wood, Metal, Pigment, Annely Judah Fine Art, London, UK First The Tree, Then The Shape, Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany 2017 With Space in Mind, Tremenheere Sculpture Gardens, Penzance, UK New Beginnings, Alan Cristea Gallery, London, UK David Nash, Galeria Simon Blais, Montreal, Canada David Nash, Galeria Alvaro Alcazar, Madrid, Spain Art Project, Krauhuegel & Art and Church, Kollegienkirche, Salzburg, Austria Tree Seasons, Plas Glyn-y-Weddw, Gwynedd, Wales 2016 David Nash: Columns, Peaks and Torso, Galerie Lelong, Paris, France 2015 With Space in Mind, Alan Cristea Gallery, London, UK Three Black Humps, Coalbrookdale Museum of Iron, Shropshire, UK King & Queen I, Keepers House The Royal Academy, London, UK 2014 David Nash Stencil Prints, Abbot’s Room, Kloster Schoenthal, Switzerland David Nash: Prints and Multiples, Galerie Lelong, Paris, France David Nash, Kukje Gallery, Seoul, South Korea David Nash: From -
Helmut Sturm Lothar Fischer
Lothar Fischer Helmut Sturm - Frühe Arbeiten auf Papier Ausstellung 17.05.2020 bis 06.01.2021 Lothar Fischer und Helmut Sturm - Frühe Arbeiten auf Papier Ausstellung 17.05.2020 bis 06.01.2021 Die Ausstellung zeigt Arbeiten auf Papier von Lothar Fischer und Helmut Sturm Museum SPUR aus den Jahren 1958 und 1959, daneben Leinwände von Helmut Sturm und Schützenstr. 7 | 93413 Cham Plastiken von Lothar Fischer. Tel. 09971/40790 oder 09971/78218 Das Museum Lothar Fischer Neumarkt i.d.OPf., der Nachlass Sturm und der Kunstverein Museum SPUR e.V. haben ebenso wie private Leihgeber Bilder und Mi, Sa, So und Feiertage 14 – 17 Uhr Gruppen auch nach Vereinbarung Plastiken als Leihgaben zur Verfügung gestellt. 01.11., 24./25.12., 31.12. geschlossen Der in Neumarkt i.d.OPf. aufgewachsene Lothar Fischer (1933–2004) und Helmut Sturm Beim Museumsbesuch sind die gültigen Vorkehrungen zum Infektionsschutz aus Furth im Wald (1932–2008) lernten sich 1952 an der Akademie der Bildenden zu beachten, siehe homepage Künste in München kennen. Ende 1957 nahmen sie mit Heimrad Prem und www.cham.de / Galerien & Museen. HP Zimmer an der »Atelierschau der Gruppe junger Künstler« im Pavillon Alter Botanischer Garten in München teil. Kurz darauf gründeten die vier Künstler die Abbildungen Vorderseite von links nach rechts: Lothar Fischer: Papierarbeiten 1959 (Fotos Andreas Pauly) Gruppe SPUR. 1958 erschient das erste SPUR-Manifest und die SPUR-Grafikmappe. und Plastik „Totem“ 1958 (Foto B. Kleindorfer-Marx) Im selben Jahr erhielt Lothar Fischer von der Arnold’schen Stiftung ein dreimonatiges Helmut Sturm: Papierarbeiten 1958 (Fotos Franz Bauer) Rom-Stipendium. -
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. -
Polyglot 2013
Department of Modern Languages and Classics Volume 5 Issue 1 2013 C OLLEGE OF ARTS AND SCIENCES FOUR MLC STUDENTS AWARDED TWO PROFESSORS RECEIVE EXTERNAL GRANTS FULBRIGHT SCHOLARSHIPS During the summer of 2012, Dr. Karina Four MLC students were awarded Ful- Vázquez spent a month doing research at the bright scholarships to teach and study archives and museum of the legendary film abroad in 2013-14. Carolyn Bero and studios Luminton, located in Buenos Aires, Rachel Hunkler, both Spanish majors, will Argentina. is was part of her participation assist English teachers in Spain. In addition in the interdisciplinary project “María’s Faces: to their teaching duties, they will carry out Images and Representations of Domestic independent research projects in Spain. Paid Labor in 20th-Century Argentina.” Stephanie Richerson, a German major, e research group is formed by research- also received a Fulbright but declined it in ers from Argentina, England, and the USA. order to accept a position teaching English In April 2012 the project was awarded a in China. Parker White, a Classics major, $17,000 grant by the Argentina National Karina Vázquez also declined his Fulbright in order to take Council for Science and Technology (CONI- a position with the Peace Corps. CET) for a three year period. Dr. Vázquez has generated two forthcoming articles in the United States and England, and has work in progress on Manuel Romero’s first films. Dr. Vázquez´s focus is on the representations of paid domestic labor, and its relationship with other paid labor, in Argentine narrative and cinema for three specific periods in socio-po- litical history: the 1940s and 1950s, the last dictatorship (1976-1983) and its aftermath, and the period opened by the social crisis of December 2001. -
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. -
Shinichi Sawada Born 1982, Shiga Prefecture, Japan
This document was updated June 10, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Shinichi Sawada Born 1982, Shiga Prefecture, Japan. Lives and works in Shiga Prefecture, Japan. PUBLIC COLLECTIONS Collection ABCD, Paris Collection de l’Art Brut, Lausanne, Switzerland Halle Saint Piere, Paris SOLO EXHIBITIONS 2021 Shinichi Sawada, Venus Over Manhattan, New York 2020 Shinichi Sawada, GeorG Kolbe Museum, Berlin, Germany Innen-Leben/Inner Life: Shinichi Sawada, Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany 2017 Shinichi Sawada. Images from the Depths of the Mind, Outsider Art Museum in the HermitaGe Amsterdam, Netherlands SELECTED GROUP EXHIBITIONS 2019 SAWADA | KONTANI | SASAKI,, Sway Gallery, London The Doors of Perception, cur. Javier Tellez, Frieze Art Fair, New York Garden, SarGent’s DauGhters and SHRINE, New York Thailand and Japan A: Figure of Unknown Beauty, BanGkok Art and Culture Centre 2018 Clay Today, The Hole, New York Art Brut Japonais II, Halle Saint Pierre, Paris Process and Presence: Contemporary Disability Sculpture, Frederik Meijer Gardens & Sculpture Park, AuGust 20, 2021 2017 Komorebi, Le Lieu Unique, Nantes, France 2016 Japan, Outsider Art Museum in the HermitaGe Amsterdam, Netherlands Radical Craft: Alternative Ways of Making, Pallant House Gallery, Chichester, United KinGdom 2014 Intuitive Folk, Pallant House Gallery, Chichester, United KinGdom Japanese Outsiders, Bonnefantenmuseum Museum, Maastricht, Netherlands Art Brut Japan Schweiz, Museum -
Radio-Aktivität Kollektive Mit Sendungsbewusstsein
RADIO-AKTIVITÄT KOLLEKTIVE MIT SENDUNGSBEWUSSTSEIN 18. Februar – 2 . Au!u"# 2$2$ EINF%HRUNG Die Ausstellung Radio-Aktivität betrachtet ausgehend von Bertolt Brechts Radiotheorie künstlerische und politische Kollektive, die eigene Organe und Kommunikationswege schufen. !s ist eine sehr schlechte "ache , sagte Brecht 1932 über den 'ustand des neuen (ediums Radio. (an hatte plötzlich die ()glichkeit, allen alles zu sagen, aber man hatte, wenn man es sich überlegte, nichts zu sagen. 'ehn +ahre nach den ersten ),entlichen Radiosendungen war Brecht desillusioniert und schlug vor, den Rundfunk umzufunktionieren, von einem Distributions- in einen Kommunikationsapparat zu verwandeln. Dieser sollte nicht nur aussenden, sondern auch empfangen, die 'uhörer_innen nicht nur zum /)ren bringen, sondern sie zu "precher_innen und 0roduzent_innen machen. "eine 1berlegungen zu einem Aufstand der /)rer formulierte Brecht genau zu der 'eit, als das Radio in Deutschland verstaatlicht und zunehmend als 0ropagandainstrument instrumentalisiert wurde. Ab dem !nde der #$23er +ahre wurde Brechts Radiotheorie heftig diskutiert. Der Grundgedanke seiner Kritik war weiterhin aktuell: 6er hat Deutungshoheit? 6er spricht und zu wem wird gesprochen? Die 8topie schrankenloser und herrschaftsfreier Kommunikation elektrisierte. Der 9okus der Ausstellung liegt auf 0ro:ekten der #$&3-30er und #$23-70er +ahre. <n dieser 'eit gründeten sich verschiedene Kollektive, deren 'iel es war, "prache und gesellschaftliche Bedingungen nicht als gegeben hinzunehmen, sondern sie neu zu denken -
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.