Talk in MoAA

 

Sunnday 31.01.2010   20.30h

American Tutti-Frutti

Porter McCray

American Tutti-Frutti – slide show

The theme of this slide show is MoMA  circulating exhibition that arrived in Belgrade in 1956 at the end of its tour through several European capitols. Although this was one of the most important exhibitions ever held in Belgrade, it was quickly forgotten and thus never became part of the local art scene narrative. Fifty years later the collection “Savremena umetnost u SAD” (“Modern Art in the USA”) was presented to the Belgrade public (Museum of Contemporary Art 2006) with the idea that one day it would become the central exhibit of the Museum of American Art in that city. The same collection was also selected for the Istanbul Biennial 2009 because it refers to the first
MoMA exhibition of modern American art held in the Balkans and because of the long historical and cultural ties between Belgrade and Istanbul. Hopefully, this temporary exhibition could become an impulse for the future Museum of American Art in Istanbul as well.

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Thursday 03.12.09     20.00h

Sex & Software: Do you have a license for this?

Diana McCartyIt’s not really about sex or software, but really about how things get done and why. From the highly distributed netzkultur of the 90’s to the localized and subjective forms of radio in the 2000’s, the social consequences of art and technology need to be unpacked. Let’s upack.

www.nettime.nl
www.faces-l.net
www.radia.fm
www.herbstradio.org

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Sunday 15.11.09       20.00h

The City is Creative

Michelle Teran

Artist Talk

The City is Creative explores the daily creative acts taking place throughout a city that are often overlooked.

People meet in different ways now, even in the strangest of manners. Imagine flying over a city and witnessing all the things that are taking place there. Connect to Google Earth and find Eindhoven, a small city in The Netherlands. As you get closer, a number of YouTube videos appear on top of the city. Did you know about the man that juggles? That there is a flying saucer in a park? That a young couple are moving into their new apartment? About the people who like to dance tango or somebody who is an aspiring singer? Everybody is broadcasting their stories. What if somebody tried to contact them back?

As an outsider to the city of Eindhoven, I found myself in a surprising situation of gaining access to three enormous, abandoned factory buildings at Strijp-S, the former Philips industrial terrain and future site of urban development project ‘The Creative City’. After spending some time exploring on my own and sometimes frightening myself by getting lost in the bowels of the buildings, I decided that I wanted to take some people in with me so they could also have this experience. I found some people in Eindhoven via YouTube who displayed a tendency for exploration, exhibitionism, absurdity and adventure and asked if they would like to visit a place is the city that is hidden and inaccessible. I asked them if they wanted to make a new video based on a video they had already made, using the empty offices, hallways, and factory spaces as their playground and inspiration. I was pleasantly surprised that many responded. Here are their stories.

 

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Donnerstag 29 Oktober 2009 20 Uhr

A PAIN IN THE ART

Jae Pas at the Museum of American Art, Berlin

From a telephone conversation between curator T. and Jae Pas.

T: “We would not be sitting here if the whole thing would have otherwise occurred somewhere else, but the problem was the loss of control. I said, I can understand where everything is in control, the public is totally controlled and then suddenly in the middle of the City Hall a total loss of control, the anarchist scene rages, I can understand, it couldn’t have been worse, although it’s turned out well. I said, yes, we can talk free about it, we’re only six eyes, and it came as an answer, it should indeed remain so. They had clear instructions that they should tell me again, boy, that was the last time this happened. That was not funny. That will certainly hurt you, as you have lost a lot of friends. But they know that they are wrong. ”

At documenta 12 Jae Pas felled a Beuys‘ oak, and invited the visitors to cut up the tree with chainsaws into pieces and take them back home.

They made an public gallery to a home for squatters, the autonomous scene, while the mayor wanted to decide the demolition of an autonomous center.

To Ruhr.2010 they open up a taxi business, where international artists pursue their profession as a taxi driver and make the path to the goal.

On 29 October the artist from Duesseldorf and Muenster will visit the Museum of American Art in Berlin, gives insight into his work with short films and talks about the pain in the art.

The Talk will be in German and English

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A PAIN IN THE ART

Jae Pas zu Gast im Museum of American Art, Berlin

Aus einem Telefongespräch zwischen Kurator T. und Jae Pas über eine
Ausstellung in einer städtischen Galerie. T. bezieht sich auf ein 6-Augen Gespräch mit Kulturdezernentin und Kulturamtsleiterin.

Kurator T: „Wir würden hier nicht sitzen, wenn das Ganze sonst wo stattgefunden hätte, aber der Problempunkt für den OB und den Rat der Stadt war der Kontrollverlust. Da hab ich gesagt, kann ich verstehen, für Sie wo alles in Kontrolle gebracht wird, Öffentlichkeit wird total kontrolliert und dann auf einmal mittendrin im Rathaus totaler Kontrollverlust, die Anarchoszene tobt, kann ich verstehen, schlimmer kann‘s ja gar nicht kommen, obwohl es ja gut ausgegangen ist. Ich hab gesagt, wir können ja offen drüber sprechen, wir sind ja nur zu sechst Augen und als Antwort kam, das solle ja so auch bleiben. Die hatten klare Anweisungen, die sollten mir noch mal sagen, Junge, das war das letzte Mal, das so etwas passiert ist. Wir meinen das ernst, das fand kein Mensch witzig. Das hat Ihnen sicherlich geschadet, da haben sie ne ganze Menge Freunde verloren. Es gehe dabei nicht um den Inhalt. Dabei ist uns doch ganz klar, dass es nicht um irgendwelche Formfragen ging, ob das jetzt angemeldet ist, von den Ratsmitgliedern hat ja gar keiner einen Einblick. Aber die wissen ja, dass sie falsch liegen. Daher wollten sie das gar nicht
zu einem Thema machen.“

Auf der documenta 12 fällten Jae Pas eine Beuysche Eiche und luden die Besucher ein, mit Kettensägen den Baum in Stücke zu zersägen und diese für den Kamin mit nach Hause zu nehmen.

Eine städtische Galerie machten sie zur Heimat von Hausbesetzern der autonomen Szene, während der Oberbürgermeister gerade den Abriss eines Autonomen Zentrums beschließen wollte.

Zur Ruhr.2010 eröffnen sie einen Taxibetrieb, bei dem internationale Künstler ihren Professionen als Taxifahrer nachgehen und den Weg zum Ziel machen.

Am 29. Oktober ist das Künstlerduo aus Düsseldorf und Münster zu Besuch im Museum of American Art in Berlin, gibt mit Kurzfilmen Einblicke in seine Arbeit und spricht über das Kreuz mit der Kunst.

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30. September 2009 20.00h

Creation and development  of FILOART (or the opposite?)

Every human being is physiologically made up from groups of different molecules and each individual has so many ideas which again form groups of ideas. Why should one human being belong to an ideological, religious or national group, when each human being itself consists of infinite groups?

A digital video talk about the creation and development  of FILOART from singel group to a group movement. (or the opposite?) This Talk is an interactive, so the audience is free to start, stop in-between, or, if necessary , end the talk. This time the talk would be in German.

Entstehung und  Entwicklung von FILOART  (oder das Gegenteil?)

Jedes menschliche Wesen besteht physiologisch aus Gruppen verschiedener Moleküle und jedes Individuum hat so viele Ideen, die wiederum Gruppen von Ideen erzeugen. Warum also sollte ein menschliches Wesen zu einer bestimmten ideologischen, religiösen oder nationalen Gruppe gehören, wenn jeder Mensch in sich, unendliche Gruppen enthält?

Ein digitaler Videovortrag über die Entstehung von FILOART und über die Entwicklung von einer Gruppe zur Gruppenbewegung. (oder das Gegenteil?) Der Vortrag ist interaktiv, wird vom Publikum gestartet, zwischendurch auf Wunsch angehalten und letztlich auch beendet. Der Vortrag ist dieses mal auf Deutsch.

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10. August 2009 21.00h

“Theatre of Operation” – Über die Simulation von Krisen und Gefahren in sog.

“Mixed Reality Labs” und über den Einfluss medialer Sicherheitsarchitektur auf die aktuelle Kunst

Am doppelten Begriff von “Theater” im Englischen – Bühne und Kriegsschauplatz – zeigen die Mitglieder der Gruppe BBM, www.bbm.de, die enge Verzahnung von ästhetischer und militärischer Nutzung Neuer Medien auf. Es geht BBM dabei um zweierlei: um das wechselseitige Beeinflussen von Denken und Gestalten in Kunst und Militär, sowie um die Sublimierung von physischer Gewalt. Das in komplexen Sicherheits- und Kriegs-“Szenarien” Entworfene wird durch seine mediale Inszenierung näher an das Machbare herangerückt und damit wahrscheinlicher. Gleichsam eine “self fulfilling prophecy”, gelingt es den beeindruckenden Animationen, unsere Realität zu fabrizieren.

BBM wurden 1989 als Künstlerkollektiv in Berlin gegründet. Neben ihren Inszenierungen im öffentlichen Raum beschäftigen sie sich auch in Texten und Recherchen stets mit der politischen Gegenwart. Details siehe unter http://de.wikipedia.org/wiki/BBM_(Künstlergruppe)

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26. July 2009 19.00h

Reminisces from the Zulu Zone

David Rych

Screening and Artist Talk

Video installation 90 min. 2008

Reminisces from the Zulu Zone results from a gathered found footage collection of tourist and ethnographic recordings on 8mm celluloid film rolls, covering a time span of over 40 years. All image material, audio, as well as text fragments made use of in the work, originate from various sources and were newly recomposed. Since the birth of a portable, commercially wide spread format – 8mm film cartridges – a broad mass of people were able to capture a personal view in moving pictures, clear of the regular film industry and without acquiring any foreknowledge in particular. This may lead to the assumption the private imagery of several generations discloses visual documents, which represent a collective memory afar the dominant historiography. Where does cultural memory actually take place, how is history designed and what identities does it generate? “Social constructivist” theories assume that humans make sense of themselves through narratives – accordingly identity is a contextual performative product, which reciprocates between the individual and society – from singular memory to collective memory. But is it also the population that has unrestricted access to travel opportunities and representation technology, which writes history at last? Or is it that the mobile consumer of the western world rather finds himself repeating the canon of a dominant interpretation, which was modelled by political and scientific dynamics and, mirrored in performance and mimesis, took on various local forms of nature? The projection space of the tourist’s „interpretation authority“ obviously intercedes in local identity patterns and thereby leaves traces in social structures – as the act of collecting impressions ethnographically principally brings with it a penetration of social, commercial and political relations. While exoticism is consumed in remote parts of the world, tourism secures a continuance of formerly ritual folklore as souvenir kitsch. On the opposite an ethnocentric conception of the other is imported into western frameworks. Theme parks epitomize the native in a stereotyped caricature, which replaces a darker episode of history. The visual plot of Reminisces from the Zulu Zone explores how history is rewritten, its motives reinterpreted and concentrated at certain locations – from monuments of historically charged events, to the site of a former concentration camp, to Disneyland. After all fictitious or authentic are only superficial terms for transitory spaces. At one point the aspect of performativity comes into the foreground. Amateur recordings of the first popular re-enactment of the American civil war (First Manassas at Bulls Run) in 1961 show a completely commercialized event, which not only marked the beginning of a continuous obsession for performing history, but also obscured an essential subject of that war – the matter of slavery. Participants of the black population were not present on that very day of the event. Another scene showing a tourist visit to the San Blas Islands indicates that minorities come to meet foreign representations occasionally in their own favour. So at the tribe of the Kuna, a population with the highest percentage of Albino births worldwide – a feature, which became the focus of American research in the first decades of the last century, in the search for white Indians and led to remarkable deals with the indigenous population. In a freely associative line up of various situations and geographies the artwork describes a connection between the global development of a consumer film technology, memory culture and the establishment of international standards – for instance the universally coordinated time measurement – Zulu time.In the arrangement of an installation the video projection is accompanied by two slide projectors fading in paragraphs of text, as a silent off commentary, which contextualizes the cinematic part. Thereby a constant narrative is generated, which takes an ironic twist, wherever goofs are obvious in the flow or recent images are embedded into the medial appearance of the anachronistic film look. This again questions the chronological placement of the medium. Finally film is a construction – a manipulative medium, which perfectly represents the idea of a linear construction of history.

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30. Jun 2009 20.00h

MoMA and the International Program

Porter McCray

“MoMA and the International Program” is a story about the first three decades of The Museum of Modern Art in New York. Since its early years, MoMA was international in its scope, exhibiting mostly modern art from Europe. After the 1936 exhibition “Cubism and Abstract Art”, it established its narrative based not on “National Schools” but on, “International Movements”, while at the same time modern art disappeared from the public’s eye in all of [throughout] Europe. Although the modern narrative established in MoMA was based entirely on European artifacts, it was the American artists that had a chance to see this new paradigm first and immediately start building on it The results became apparent only a decade later, after the WWII

The war marked the end of 19th century concept of nation states and MoMA with its internationalism emerged as a leading modern art museum in the world. In 1953 it established the International Program that enabled a series of circulating exhibitions of American modern art throughout the Western Europe. In spite of the Cold War context, those were the exhibitions that helped establish the first post war common European cultural identity based on modernism, internationalism and individualism.

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24. Mai 2009, 21 Uhr

deadSwap

Dmytri Kleiner

A major impact of the commercialization of the Internet has been the undermining of its peer to peer architecture. As Capital must always control the circulation of value in order to appropriate surplus, its champions view peer networks as a threat. The Web, although it sits on top of the Internet, is not a peer to peer technology, but rather a client-server system where the interactions of the users are controlled and mediated by that site’s operators.

With such centralization and control the operators are in the position of capturing the value created by the user’s of these sites by way of selling this audience of users as a commodity to publishers of marketing and propaganda.

More importantly, the Capitalist financed operators of such sites, can sell the data of the users, which often includes significant personal and demographic details, raw data for biometrics and detailed relationship graphs, to those that want to use this data to study, manipulate or control these users. These private, centralized services can also silence and lock out any user from participating or act to prevent any type of usage that is contrary to their own interests.

The new “Social Web” has fundamentally replaced the peer to peer Internet, and remaining peer communications technology has become marginal or even contraband as participants on peer networks face ever increasing legal attack and active sabotage from groups representing the interests of Capital.

The Internet is dead. In order to evade the flying monkeys of capitalist control, peer communication can only abandon the Internet for the dark alleys of covert operations. Peer to peer is now driven offline and can only survive in clandestine cells

deadSwap is an offline file sharing system, where participants covertly pass a USB stick from one to another. The route of the USB memory stick and the identity of the other participants is not known by the users, but controlled by local independently operated SMS gateways that are kept as a carefully shared secret by their users.

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8. April 2009, 21 Uhr

Traveling Desktop Country

Dia-Vortrag von johannes p osterhoff

In Desktop Country herrschte einst Ordnung und recycelbare Sauberkeit. Es war ein paradiesisches Land des Lichts. Feinste Schlagschatten säumten nicht nur seine Fenster—auch die makellosen Gegenstände in diesem Land und dessen Bewohner werfen makellose Schatten. Doch in diesem Schatten formiert sich Widerstand.

Der Wochenendausflug in die «grüne Idylle» ist den Bewohnern der kleinen Reihenhäuser auf Dauer zu wenig. Die harte Arbeit, um sich den eskapistische Urlaub auf der einsamen Insel oder die teuren mit Nanotechnolgie und Photoshop hergestellten Items leisten zu können, wirkt auf viele Bürger sinnentleert. Der Fortschrittsoptimismus bröckelt und der kollektive Traum von der Reise in den unendlichen Weltraum ist ausgeträumt.

In seinen Reisen in die «schöne neue Welt» von Desktop Country lernte johannes p osterhoff den Alltag der Desktop-Bewohner kennen, deren Arbeitswelt und Freizeit sowie deren Normen und Werte. In dem Diavortrag berichtet er über die von den Massenmedien kaum wahrgenommenen aktuellen Unruhen in Desktop Country.

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Saturday, March 14th 2009 at 9pm

DIADEM

1 Magazin voller Erinnerungen

1 Darsteller voller Phantasie

1 Abend voller neuer Geschichten.

Diadem eine Diaperformence mit 4 verschiedenen Darstellern, die alten Dias neues Leben einhauchen, während in den Köpfen der Zuschauer ein ganz eigener Film ablaufen kann. In Berlin längst kein Geheimtip mehr und schon längst auf dem weg zur Survivaldisziplin für Selbstdarsteller.

Patric Schott entwickelte Diadem 2001, nachdem er auf dem Flohmarkt einige alte Dias fand. 2000 Dias später und über 50 Vorstellungen in Berlin, Hamburg, Bilbao und Neapel.

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Museum of American Art invites you to a slide-show:

Alfred Barr -“Abstract Cabinet and the Modern Art Narrative”

Friday, February 6th at 8PM.

The Abstract Cabinet emerged out of a close collaboration between the director of the Provinzialmuseum Hannover Alexander Dorner, and the  Soviet Avant-garde artist El Lissitzky. Immediately after the opening in 1928 the Cabinet became one of the most prominent exhibits of the Provinzialmuseum. Furthermore it influenced the thinking on exhibiting practices among museum professionals worldwide. Alfred Barr, director of the Museum of Modern Art in New York, states  that “The Gallery of abstract art in Hanover was probably the most famous single room of twentieth century art in the world.”

Unfortunately, as the political situation changed for the worst, in a time when intolerance and hatred driven by the ideology of the National Socialism entered into all spheres of life, it became impossible for Alexander Dorner to keep the Abstract Cabinet open for the public. As a result of governmental decisions the Cabinet was finally dismantled in 1936. After the “Entartete Kunst” exhibition 1937 which included works once displayed in the cabinet.  They were confiscated and eventually destroyed, while Dorner fled to America. The end of Abstract Cabinet symbolically marks the end of modern art in Europe as well.

Current  exhibition “Kabinett der Abstrakten – Original and Facsimile” in Halle fur Kunst Luneburg,  is an attempt not to reconstruct, but to re-remember this important achievement of the 20th century modern art, including the broader context of its appearance and disappearance. By working with copies of the destroyed paintings, we are following Dorner’s idea on original and facsimile as well as Walter Benjamin’s thought of “copies as memories”. To create a complex space of memory, the exhibition works with various kinds of reference material and display techniques including paintings, books, catalogs, film footages, and sound.

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Wednesday, 14. January 2009, 19.ooh

Khadija Z Carroll

Inter-ven-tions, is a conversation about artists in museums with Khadija Z Carroll. This evening will be part salon, part celebration. Sparked by propositions developed in a series of her essays — where meta-museum’s such as the MoAA are placed in relation to Salon de Fleurus and the Museum of Jurassic Technology (in ‘Economies of Desire’, Getty & MUP, 2009) — a critical practice (in ‘Museum Space-Time As Sculpture’ Ashgate Press, 2009) is in the process of being questioned and defined.

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Monday,  01. December 2008, 20h,

(An Stelle das abgesagten Vortrages von Rabo Karabekian)

Joachim Stein: Reality Over

Überlegungen zu schnellem Geld, hoher Kunst, Computerspielen und anderen Spielen // reflections on quick money, fine art, computer games and other gamesand defined.