The Novel, or rather a Novella if we are to believe the word count of Wikipedia...
More about the week that passed and the Novel/Novella later, here is the back cover

© David Reinfurt / Philipville

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there is much to be said about PHILIP the workshop, but I am afraid I do not have time for it right now. Will get back as soon as possible, so instead some happenings in leipzig::

the exhibition Sexy Mythos in Leipzig --

then in Halle 14:


Eine Diskussionsrunde von und mit

Beatrice von Bismarck, Kunsthistorikerin und Professorin an der Hochschule für Grafik und Buchkunst (Leipzig)
Eva Kraus, Ausstellungsgestalterin und freie Kuratorin (München)
Barbara Steiner, Leiterin der Galerie für Zeitgenössische Kunst (Leipzig)

Tilo Schulz, Künstler (Leipzig)

am Dienstag, den 7.11.2006, 19 Uhr
in der Halle 14, 2. OG, Leipziger Baumwollspinnerei, Spinnereistraße 7, 04179 Leipzig

Von der ersten Dadamesse zum White Cube und zurück. Welchen Einfluss hat Ausstellungsgestaltung auf unsere Rezeption von Kunst? Bestimmt die Präsentation der Kunstwerke mittlerweile deren Produktion? Müssen Ausstellungen mit der Eventkultur wetteifern? Die 1990er Jahre brachten eine Flut an kuratorischen Konzepten für (Gruppen-)Ausstellungen hervor, die das einzelne Kunstwerk in den Hintergrund drängten. In den letzten Jahren haben sich jedoch vermehrt KünstlerInnen und KuratorInnen von dieser Position kritisch distanziert. Überraschenderweise war die Antwort keine Restauration des Einzelkunstwerks. Vielmehr geht es heute um einen sensibleren Umgang mit den Inhalten der Arbeiten und einen offenen Dialog zwischen Kunstwerk, Architektur, Design und Präsentation.

Die Diskussionsrunde verspricht einiges an Spannung: Nicht nur stehen die drei Referentinnen für sehr klare Positionen im zeitgenössischen Ausstellungsbetrieb. Sie decken auch ein breites Spektrum an theoretischer und praktischer Auseinandersetzung mit Ausstellung, Inszenierung und Display ab: Beatrice von Bismarck als Kunsthistorikerin, Barbara Steiner als Ausstellungskuratorin und Eva Kraus als Ausstellungsgestalterin und ehemalige Leiterin der Friedrich Kiesler Stiftung in Wien. Die Diskussion wird sich mit historischen Rückgriffen in das letzte Jahrhundert Ausstellungsgeschichte aktuellen Fragen der Präsentation von Kunstwerken stellen.

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PHILIP: let the games begin 
So, PHILIP, the work shop are on its way.
The first participants arrive to day, net is up, great working space (a bar) and sun. 14 degree Celcius - everything*s fine

The photo is taken by Heman Chong and
it is me (to the right) and Mark Aerial Waller, artist from London.

© Heman Chong

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Pontus Hultén dies at 82  
I have heard a lot about Hultén, the one who made Moderna Museet the place we all would like it to be (it is not, not really) - or?
It is always strange when heroes and known people dies, so also with Pontus Hultén, who died not many days ago. He will be remembered as long as the term Contemporary Art means something, and as long as someone tries to define what these so-called curators did during the last part of the 20-century.

From the press text of Moderna:

Pontus Hultén, in effect, founded Moderna Museet, when he became its director in 1960 . Very soon, he startled the Swedish public with a succession of innovative exhibitions, such as Movement in Art, incorporating sculptures by Jean Tinguely and PO Ultvedt; and 4 Americans (1962), featuring American pop art by Robert Rauschenberg and Jasper Johns and others, almost before they were acknowledged in the USA. A string of historic exhibitions followed: Jackson Pollock (1963) and the Dream Museum, where Pontus Hultén persuaded the government to contribute five million Swedish kronor towards buying new works for the collection. Today, these works are the backbone of the museum collection and cannot be valued in money. Pontus Hultén is regarded as one of the world’s most distinguished museum professionals of our time. He devoted his life to art and eventually donated the collection he built up over many years to Moderna Museet.

Moderna Museet won international fame in 1966 with the exhibition SHE – A Cathedral, which consisted of a gigantic sculpture of a reclining woman whose womb was an entrance for visitors who could experience various things inside. The artists behind the work were Niki de Saint Phalle, Jean Tinguely, P O Ultvedt as well as Pontus Hultén himself. When Andy Warhol was shown at Moderna Museet in 1968, this was his first retrospective ever.

In 1974, Pontus Hultén was invited to participate in creating a new cultural centre in the heart of Paris: Centre Pompidou. He directed the institution with great aplomb until 1981, when he went on to start other institutions, including Museum of Contemporary Art, Museum of Contemporary Art, MoCA , Los Angeles, Palazzo Grassi, Venice, Kunsthalle Bonn and Museum Jean Tinguely, Basel.

Lars Nittve, director of Moderna Museet:
“Pontus Hultén is a seminal figure in the history of the museum, with his ability to take advantage of unique opportunities and always being ahead of his time. The works that were added to the collection during his directorship are the mainstay of Moderna Museet. It is no exaggeration to say that no other individual has meant more to Moderna Museet.”

One year ago, Pontus Hultén decided to donate some 700 works, or practically his entire private collection, to Moderna Museet. One of his requests was that the donated works, which were gratefully accepted by the government and Moderna Museet, should not be hung as part of the collection, but should be accessible to the public in a user-friendly storehouse – a typically Hulténesque solution that would give the public the freedom to “browse” among the masterpieces as in an art library. The architect who will create this viewing storehouse is Pontus Hultén’s friend and former colleague Renzo Piano (from Centre Pompidou, Paris, and the Menil Collection, Houston, Texas).

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Forgot: Unitednationsplaza 
M6 was cancelled. Nobody can deny that, but the ideas used in the making of are in circulation still. One of the largest onces are founder of e-flux : Anton Vidokle (hear radio-interview here (as a part of a project form the curator-students in Amsterdam last year)).

His project in Berlin explains itself as an exhibition as school: unitednationsplaza.

It sounds ok, but to be honest; same persons as through the whole 90*ies, just new context. Might be good, could also be a bit boring.

Because I really like the idea of the curatorial team, and I really like some of the projects that Vidokle has produced or organized as a part of e-flux. I wish him the best of luck this weekend and I hope that unitednationsplaza turns out good.

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