Didactic Arts Series at Schlegel Graduate School, Freie Universität Berlin

21/02/2015

Dear friends and colleagues,

this MONDAY, FEBRUARY 23rd, at 4 PM we are very pleased to invite you to the PRESENTATION by ALESSANDRO BALTEO YAZBECK (BERLIN/NEW YORK).

Venue: J 31/125 (FU Berlin, Habelschwerdter Allee 45, 14195 Berlin)

Everybody warmly welcome!

11/02/2015

RE: WORKSHOP WITH JELENA VESIC (BELGRADE) ON
25 FEBRUARY, 16.00-18.00

"DOCERE ET DELECTARE - LECTURE PERFORMANCE AND THE TRAJECTORIES OF DIDACTIC ART"

Shall we speak on lecture performance in terms of ‘artistic genre’ or an ‘auxiliary department of edu-factory’? What is the function of didacticism in all that?

This workshop will lean on the exhibition Lecture Performance, shown in Köln and Belgrade in 2009/2010 as the first exhibition directly concerned with this art form which has become extremely popular at art scene over the last decade. The exhibition has been organized in cooperation between Belgrade Museum of Contemporary Art and the Kölnischer Kunstverein, as a result of collaboration between four curators: Anja Nathan-Dorn, Kathrin Jentjens, Radmila Joksimović, and myself.

Lecture performance as a form intertwines two practices – the one of lecture and the one of performance – with their long and changeable histories and policies. A historiographical, genre approach to the topic would raise a question if rich tradition of performance and body art recognizes the specific form of lecture performance? A certain lack of agreement about what lecture performance actually is (or could be) creates the need to explore various phenomenal concepts or modes of action, and their supporting ideologies.

In the practices that may be named as Lecture Performances in contemporary art context, artists operate on the boundary between lecture and performance, including elements of self-reflection, social reflection, discussion form, performance virtuosity or different forms of action.

11/02/2015

Wichtig:

der Termin + Ort für Mario Asef’s Acousmatic Lecture haben sich geändert.

Statt am Mittwoch, den 18.2. findet diese Veranstaltung nunmehr am MONTAG, den 16.2. um 18.00 s.t. statt. Und zwar an folgendem Ort:

KuLE Theater, Auguststrasse 10, Mitte

An die Lesung schließt sich ein Gespräch mit dem Künstler in der Bar des KuLe an.

Der Mittwochstermin entfällt ersatzlos.

Herzlich,

Sven Spieker

08/02/2015

RE: PRESENTATION BY ALESSANDRO BALTEO YAZBECK (BERLIN/NEW YORK) ON WEDNESDAY, 23 FEBRUARY, 16.00

About Alessandro Balteo Yazbeck:

Since the mid-nineties Balteo Yazbeck has developed a hybrid practice that incorporates the activities of a researcher, archivist, historian and curator. His entangled narratives are motivated by sociopolitical questions involving gaps in collective knowledge or misrepresentations in the public record.

Working across various mediums including video, installation and performance, Balteo Yazeck's works formally resemble or incorporate the works of others, stressing notions of authorship and cultural authority.

His work frequently mimics the didactic function of the museum, and he approaches different artistic media in a way that deconstructs their language, highlighting the manufactured nature of images and their messages.

04/02/2015

RE: WORKSHOP MIT GEORG WITTE, MONTAG, 9. FEBRUAR 2015, 16.00-18.00

Georg Witte ist ein deutscher Komparatist und Slawist. Er lehrt am Peter-Szondi-Institut und am Osteuropa-Institut der Freien Universität Berlin.[ Witte studierte von 1971 bis 1982 Germanistik und Slawistik in München, an der Universität zu Köln und an der Ruhr-Universität Bochum. 1984 und 1985 nahm er einen Forschungsaufenthalt an Moskauer Staatsuniversität wahr. Er promovierte 1987 an der Universität Bochum und war dann dort als wissenschaftlicher Assistent tätig. Die Habilitation erfolgte 1992. Im Jahr 1994 wurde er zum Professor für Ostslawische Literaturen an der Humboldt-Universität zu Berlin ernannt. 2004 folgte er dem Ruf auf eine Professur an der Freien Universität Berlin.

Die Forschungsschwerpunkte von Witte umfassen die Literatur der Sowjetunion, speziell experimentelle Textpraktiken der 1960er bis 1980er Jahre. Er leistet diverse Beiträge zum Verhältnis von Literatur und Schrift. Jüngst kommen Arbeiten zur Ästhetik des Dinglichen hinzu.

Schriften:
-Die sowjetische Kolchos- und Dorfprosa der fünfziger und sechziger Jahre. Zur Evolution einer literarischen Unterreihe, München: Sagner 1983.
-Appell – Spiel – Ritual. Textpraktiken in der russischen Literatur der sechziger bis achtziger Jahre, Wiesbaden: Harrassowitz 1989.
-Bewegte und bewegende Briefe. Schriftbeschleunigung als Imaginationstechnik der Empfindsamen, in: Georg Witte, Inke Arns, Mirjam Goller und Susanne Strätling (Hg.): Kinetographien, Bielefeld: Aisthesis 2004, S. 413-451.
-Das Gesicht des Gedichts, in: Susanne Strätling, Georg Witte (Hg.): Die Sichtbarkeit der Schrift, München: Fink 2006, S. 173-190.
-Das Geschenk als Ding, das Ding als Geschenk. Daniil Charms' Überbietung des funktionalen Gegenstands, in: Rainer Grübel, Gun-Britt Köhler (Hg.): Gabe und Opfer in der russischen Literatur und Kultur der Moderne, München: BIS 2006, S. 282-303.

04/02/2015

WEDNESDAY, 18 FEBRUARY, 2015, 16.00

MARIO ASEF (BERLIN), "ACOUSMATIC LECTURE"

On 18 February, Berlin-based artist Mario Asef will present an "Acousmatic Lecture" during which he speaks selected fragments from his latest work, Three Anachronisms, a trilogy produced between 2010 and 2014.

Asef's Acousmatic Lectures are a series of discursive auditory experiences based on the Pythagorean acousmatic model, a mode of presentation in which the orator is hidden from the public. Acousmatic presentation encourages both orator and listeners to focus exclusively on the spoken word, its temperament, tone, and stimulus, without the visual aid of supplementary images or the body language of the speaker. For this series of lectures, all visual clues provided by the speaker’s facial and bodily expressions, which are capable of influencing the reception of the information presented, are to remain hidden. Nonetheless, the physical presence of the speaker will still be made evident through the speaker’s voice, all acoustical aspects, and their dissemination into the space surrounding him/her. In so doing, the dialectical confrontation between abstract and sensorial information is underscored.

Mario Asef studied architecture and art in Argentina, Germany, and England. His work has been exhibited worldwide, most recently at Junge Kunst e.V. (Wolfsburg, Germany), Kasa Galerie (Istanbul), Abandoned Gallery (Malmö, Sweden) Samzie Space (Seoul), Nouvel Organon (Paris). Recent museum exhibitions include Hamburger Kunsthalle, Villa Merkel, Kunstlerhaus Bregenz (Austria), and the Akademie der Künste Berlin. His videos, photographs, sound installations, and interventions in public space deal with architectonic as well as sociopolitical questions and confront issues related to their spatial representability. With a detached sense of irony they seek to make legible the “immaterial, invisible” architecture of the social sphere.

03/02/2015

Olof Olsson (Copenhagen), Performance 12 January, 2015

03/02/2015

01/02/2015

Dear friends,

we'll be very pleased to see you tomorrow
in our seminar with Nataša Ilić (WHW) and Beatrice von Bismarck
at 4 PM
in FU BERLIN, MAIN BUILDING HABELSCHWERDTER ALLEE, ROOM JK/125 (U Dahlem-Dorf).
Please share the event with your friends. Thank you!

01/02/2015

Artist Performance/Discussion with Olof Olsson (Copenhagen). Monday, 19. January 2015