[Nettime-ro] FW: Manifesta 4 Lectures I

[Desk <Desk@concept.osf.ro>]

-----Original Message-----
From: Manifesta 4 [mailto:media@manifesta.de]
Sent: 24 ianuarie 2002 18:07
To: Kerstin Knepper
Subject: Manifesta 4 Lectures I


Sehr geehrte Damen und Herren,
anbei erhalten Sie das Vortragsprogramm der Manifesta 4 in Kooperation
mit der Städelschule in Frankfurt am Main.
Auf Einladung der Kuratorinnen der Manifesta 4, Iara Boubnova, Nuria
Enguita Mayo, Stéphanie Moisdon Trembley, sprechen internationale
Kuratoren und Kunstvermittler aus verschiedenen Regionen Europas über
ihre Arbeit und die spezifischen kulturellen und sozialen Kontexte in
ihrem jeweiligen Wirkungsbereich.

Dear Ladies and Sirs,
please find attached the lecture programme of Manifesta 4 (in
cooperation with Städelschule Frankfurt/Main).
Invited by the curators of Manifesta 4, Iara Boubnova, Nuria Enguita
Mayo, Stéphanie Moisdon Trembley,  international curators and art
mediators from various regions in Europe talk about their work and their
specific cultural and social contexts.

Mit freundlichen Grüßen
With best regards

Manifesta 4
Press and Public Relations
Martina Aschmies
Kathrin Winter (Assistant)
c/o Künstlerhaus Mousonturm
Waldschmidtstr. 4
D-60316 Frankfurt
Tel.: +49.69.40 58 95 - 14
Fax: +49.69.40 58 95 - 40
www.manifesta.de
 

Lectures I, January till May 2002
In Co-operation with the Academy of Fine Arts, Staatliche Hochschule für
Bildende Künste - Städelschule

18.1. Branislav Dimitrijevic, CCA Centre for Contemporary Art / School for
History and Theory of Images, Belgrade 
THE CROWDED VOID: LOCATING AND THINKING VISUAL ART IN CONTEMPORARY SERBIA
(AND WHAT FOR?) (working title)

25.1. Hedwig Saxenhuber, springerin - Contemporary Art Journal, Vienna 
WHO IS AFRAID OF THE 'BOGEY MAN'?

15.2. Lionel Bovier, Curator and Publisher, Geneva 
CURATORIAL METHODOLOGIES, ARTISTIC PRACTICES AND RELATIVE INDEPENDENCE

22.2. Franck Larcade, Consonni Centre for Contemporary Art, Bilbao 
TOMORROW, EVERYWHERE...

8.3. Dagmar Demming, Academy of Fine Arts, Oslo
'MULTIPLE PERSONALITY' - A PLEASURE WITHOUT GUILT FEELINGS

15.3. Katy Deepwell, Editor of n.paradoxa, international feminist art
journal, London 
FEMINISM IN AN INTERNATIONAL FRAME

5.4. João Fernandes, Serralves Museum of Contemporary Art, Porto 
The title and subject of the lecture were not yet available when going to
print.

19.4. Erden Kosova, Critic, London/Istanbul 
ISTANBUL, NOT CONSTANTINOPOLIS

3.5. Gianni Romano, Critic and Curator, Milan 
A CURATOR WITHOUT WALLS (working title)

10.5. Suzana Milevska, Critic and Curator, Skopje 
CORRESPONDENCES AND PRIVILEGES

Lectures will be held in English except January 25 and March 8.

7 pm at Städelschule, Dürerstr. 10, 60596 Frankfurt / Main 
Subject to alteration!

Information: +49/69/40 58 95 - 800, office@manifesta.de, www.manifesta.de
Manifesta 4 c/o Künstlerhaus Mousonturm, Waldschmidtstr. 4, 60316 Frankfurt

Manifesta 4 is supported by Stadt Frankfurt am Main, Allianz Kulturstiftung,
Messe Frankfurt. Sponsored by Hessische Landeszentralbank, Deutsche Städte
Medien GmbH, Media-partner hr2 
18.01. Branislav Dimitrijevic, CCA Center for Contemporary Art / School for
History and Theory of Images, Belgrade: THE CROWDED VOID: LOCATING AND
THINKING VISUAL ART IN CONTEMPORARY SERBIA (AND WHAT FOR?) (working title)

The talk explores the institutional and non-institutional treatment of
visual art in post-Milosevic Serbia. The aim is to map the current situation
and on-going projects and efforts that attempt to create a relevant and
critical public space in a conservative and impoverished social ambience.
The examples will range from high profile international projects (such is
the exhibition "Konverzacija" in the Museum of Contemporary Art) to artistic
projects in non-artistic environments (such is the project "Flux" carried
out in suburbs and favelas around Belgrade).

Branislav Dimitrijevic, born 1967 in Belgrade, is art historian, writer and
curator. He currently holds the position of Director of the Centre for
Contemporary Art in Belgrade.
He graduated in Art History at the University of Belgrade and in 1995
received his MA degree in History and Theory of Art at the University of
Kent under Professor Stephen Bann.
He has written on visual culture and contemporary art and politics in Serbia
for local and international magazines and catalogues, and edited a book on
interpretations of popular imagery, "Pop Vision" in 1996. He has written
essays for catalogues of artists including Zoran Naskovski, Milica Tomic,
Zdravko Joksimovic, pRT and others. 
With Branislava Andjelkovic he curated exhibitions and edited catalogues
including "Map Room" (1995) and "Murder1" (1997), as well as "Beauty and
Terror" (1998) and "Overground" (1998). His most recent curatorial project
is "Konverzacija" (2001, Museum of Contemporary Art Belgrade).
He is one of the founders of the School for History and Theory of Images at
the Centre for Contemporary Art, Belgrade where he teaches courses on
Conceptual Art and Reading the Image. He has lectured and participated in
conferences and panel discussions in Canterbury, Stockholm, Innsbruck,
Ljubljana, Skopje, Oslo, Moscow, Graz, Vienna, Cape Town, etc.
He is the President of the Board of the International Contemporary Art
Network (ICAN). He received the Lazar Trifunovic award for art crticism in
1997 and the Dusan Stojanovic award for film theory in 1999. 



25.01. Hedwig Saxenhuber, springerin - Contemporary Art Journal, Vienna:
WHO'S AFRAID OF THE 'BOGEY MAN'?

How wide open are the spaces of art for political counter-strategies? Do
artists have a potential to draw attention in an emancipatory way to present
problems of migration, globalization, poverty and Disneyization? How have
the working conditions and artists' concept of the art work changed through
the impact of these problems? Is the attention being paid to geographical
zones other than the hegemonic ones only a short flash, or have the set of
senses for a changed geography developed in the meantime through networking
and intermeshing institutional relations? Is it not sexy and is it almost
like an anal fixation to analyze social relations of power? To what extent
do artists cut off their room for free movement when they react to social
deficiencies and when that is even expected of them? Using examples from
aesthetic and curatorial practice, the productive contradictions and
ambivalences of such questions are to be discussed. 

Hedwig Saxenhuber is a freelance curator and co-editor of springerin, a
journal for contemporary art and lives in Vienna. From 1992 to 96 she was a
curator at Kunstverein Munich. Numerous publications including "Yvonne
Rainer", "Oh boy, it's a girl", "Trinh T. Minh-ha", "Louise Lawler". Most
recent exhibitions: "Translocation (new) media/arts", Generali Foundation,
"Erlauf recollects...", a project in public space, "you are the world",
Künstlerhaus/Vienna Festival.



15.02. Lionel Bovier, Curator and Publisher, Geneva: CURATORIAL
METHODOLOGIES, ARTISTIC PRACTICES AND RELATIVE INDEPENDENCE

The lecture recalls the absence of any clear definition as well as legal or
economic grounds for curatorial practice. And hence it questions the
foundation of such a work with regard to artistic practice and writing in
the second half of twentieth century art history. It then re-asserts
independence in terms of methodological possibilities offered to curators,
presenting personal projects which developed from issues such as the role of
archives, the Fluxus notion of the 'score' and 'recessive history'. 

Lionel Bovier is a freelance curator and writer based in Geneva. An
Associate Curator at Le Magasin, Centre National d'Art Contemporain, in
Grenoble since 1999, he is also the co-founder and director of JRP Editions,
an independent publishing company in Geneva. He recently published a survey
of the Swiss art scene ("Across", Skira/Seuil 2001) and among his recent
exhibition projects are "Timewave Zero/The Politics of Ecstasy" (Grazer
Kunstverein, Steirischer Herbst 2001, together with Jean-Michel Wicker) and
the retrospective of Jack Goldstein at Le Magasin (together with Yves
Aupetitallot and Fareed Armaly).



22.02. Franck Larcade, Consonni Centre for Contemporary Art, Bilbao: 
TOMORROW, EVERYWHERE...

The only valid field for critical action is reality itself. In such a
context, the question arises as to the nature of new artistic productions
that are based on the use of strategies which irreverently mime capitalist
society. 
Consonni (Bilbao) uses well-known economic, political and media forms.
Through the presentation of several recently produced projects, Consonni
develops an ideological position opposed to the conventional art system and
its production models.

Franck Larcade, born 1969 has been art producer and director at Consonni
(Bilbao, Spain) since 1996. Among the projects he has recently curated, one
can mention "El Gran Trueque", Matthieu Laurette (2000) and "The
International Auction of the Basque Typefaces 'Euskara'", Heinrich Sachs
(2001).
08.03. Dagmar Demming, Academy of Fine Arts, Oslo: 'MULTIPLE PERSONALITY' -
A PLEASURE WITHOUT GUILT FEELINGS

I teach at an art academy as an artist and since 2000, as director, I am
responsible for the curriculum. I will present my ideas about the
institution of the art academy, the change in the production of knowledge
and the work of artists from these three perspectives. Concepts like
'freedom' as a fog trap, 'fuzzy logic'; the artist will be contemplated as
doctor and the doctor as artist. Institutional frustration will be replaced
by institutional enthusiasm and vice versa. The fun will be separated from
the negative Protestant connotations of the fun society and conceived of as
dynamizing pleasure, jobs as playing fields and misunderstandings as an
opportunity. Sound bytes and slides from my artistic production will confuse
the stringent path of argumentation. 

Dagmar Demming, born 1951, was master class student at the Hochschule der
Künste (Academy of Arts), Berlin from 1983 to 89; from 1994 to 97 she taught
at the Art Center College of Design, Fine Arts Department, Pasadena,
California. 1998 Dagmar Demming wa appointed Professor at the Academy of
Fine Arts in Oslo, Norway.

Selected exhibitions:
Solo exhibitions: 1992 "Estimating Eyes - Measuring Ears",
Treppenhausgalerie Berlin, Galerie von der Tann, Berlin; 1995 "3 to 4",
Gallery Sundvik-Villano, New York; 1996 "New in L.A.", Alyce de Roulet
Williamson Gallery, Pasadena, "Dünü Duymak/Listening to Yesterday", Macka
Sanat Galerisi, Istanbul; 1999 Kunstraum Stavanger, Artists' House Oslo 
Group exhibitions: 1991 "Six from Berlin", Moderna Museet Stockholm; "This
Way or That", Künstlerhaus Bethanien; 1992 "Realtime", Museum for
Contemporary Art, Oslo; 
1993 "After the Wall", The Carnegie, Pittsburgh, "Fontanelle", Kunsthalle
Potsdam; 
1994 "In Between", Centre A. Brochette, Brussels, Kunstgalerie Gera, Haus am
Waldsee, Berlin, "Burnt Whole", Washington DC, Project for the Arts, Boston,
Institute of Contemporary Art; 1995 "Bodily Logos", Staatsgalerie Stuttgart,
exhibition of the IFA, RENTA Prize, exhibition Nuremberg, Norishalle, "All
Work No Play", Dresden-Hellerau, "The Telematic Space", Neue Gesellschaft
für Bildende Kunst, Berlin; 1996 "Quicksand: MV-Scene in Motion",
Staatliches Museum Schwerin; 1997 "For Lidice, 52 Artists form Germany",
Prague, Museum of the Black Mother of God, Staatliches Museum Schwerin,
Fridericianum, Kassel; 1997 "towards: ReligionMemoryBody in contemporary
Art" , Graz; 2001 Biennial of Sculpture Münsterland, "Intimate Expeditions",
Kunstverein Karlsruhe, Haus am Waldsee, Berlin 

Selected scholarships/projects:
1993 Working scholarship from the Art Fund Bonn; 
1993-94 Berlin DAAD Scholarship for Los Angeles, Visiting Artist at the Art
Center College of Design, Pasadena California; 
1997 Faculty Grant, Art Center College of Design, Pasadena, California; DAAD
Scholarship for lectureship in Pasadena California; 
1999 Nordic Institute for Contemporary Art, Helsinki 



15.03. Katy Deepwell, Editor of n.paradoxa, international feminist art
journal, London / Post-Doctoral Research Fellow, University of Ulster:
FEMINISM IN AN INTERNATIONAL FRAME

This presentation will examine the relationship between the art history of
feminist art and the women's art movement, which have often been national in
character, and will contrast this with a number of international initiatives
in feminist exhibitions since the 1970s. The feminist art movement in
America has been the most well-documented part of the movement to date and
has become dominant in terms of a published account of what feminism is.
However, examination of international feminist exhibitions reveals a
different agenda at work and a very different account of feminism's
significance as a contemporary art movement. The limited published knowledge
about feminism in the visual arts has created some very specific problems
and distortions for identifying feminism in the visual arts as an
international phenomenon and an art movement with a global reach and
multi-layered histories of exchange and co-operation across borders. The
tensions between these two positions - one national/local, the other
international/global - will be explored in relation to the work of women
artists since the 1970s.

Katy Deepwell is founder and commissioning editor of n.paradoxa:
international feminist art journal. She is currently Post-Doctoral Research
Fellow at the University of Ulster. Her most recent book is "Dialogues:
Women Artists from Ireland" (Kinsale: Gandon Books, 2001); "Women Artists
and Modernism" (ed.) (Manchester Univ. Press, 1998); "Art Criticism and
Africa" (ed.) (London, Saffron/EAP, 1997); "New Feminist Art Criticism"
(ed.) (Manchester Univ Press, 1995).



05.04. João Fernandes, Deputy Director and curator at the Serralves Museum
of Contemporary Art, Porto
The title and subject of the lecture were not yet available.



19.04. Erden Kosova, Critic and Curator, London/Istanbul: ISTANBUL, NOT
CONSTANTINOPOLIS

The recent tension being produced by the membership negotiations between the
EU and Turkey has a decisive influence on the formation of contemporary
Turkish citizens' psyches. Constant oscillations between recognition and
exclusion, desire and resentment, cosmopolitanism and isolation fabricate a
reflexive process, a crisis of the Self which has to be defined anew due to
the changing relations with the 'historical Other'. Contemporary artists
from Turkey have an additional concern regarding this tension because they
are welcomed by the European institutions more than the local ones. They
feel the urge to criticize both the increasing nationalism at home and the
expectations for products of representational character, for illustrations
of a geography of the nation abroad. In relation to this double-edged
displacement they employ varyious strategies of resistance. Sometimes they
refer critically to the prevailing, ridiculous rhetoric of the heroic past
of the Ottoman state or to the historical images of European imagery which
reflect an apparent enmity. Sometimes they problematize their own status as
artists from the periphery or sometimes they reject all sorts of cultural
binaries and seek transversal mappings of alternative geographies. In my
paper I will discuss some particular works and illustrate those strategies
of resistance.

Erden Kosova is PhD candidate at Goldsmiths College London. He has worked
for two art magazines in Istanbul, Resmi Görüs and art-ist.



03.05. Gianni Romano, Critic and Curator, Milan: A CURATOR WITHOUT WALLS
(working title)

The lecture focuses on Gianni Romano's work as exhibition curator and
communicator of contemporary art in a country which does not have museums of
contemporary art. From the viewpoint of curating, Romano will speak as an
initiator of the first Italian web site for contemporary art
www.postmedia.net and also about some of his own publications. Special
exhibitions in which Romano has played a part as curator will also be
presented in this connection: "Beyond concentric normality" (Padua),
"Italian maps" (Athens), "The Image of Europe" (Cyprus), "Media Connection"
(Rome and Milan). The lecture will conclude with a discussion of the
artistic situation in the social context of Italy.

Romano was born in 1960 in Italy and lives in Milan. He concluded his
studies in literature and philosophy with a thesis on American
science-fiction. 
The main focuses of his work as curator and critic of contemporary art are
on photography and art on the internet. His publications appeared in
numerous international art periodicals (Arts Magazine, Art Press, Noema,
Untitled Art). He is presently working for the magazines Zoom (Milan), Lapiz
(Madrid), Flash Art (Milan) and ArtNet (New York). 
In 1996 Romano founded the Postmedia Magazine (www.postmedia.net), the first
webzine for contemporary art in Italy. He founded one of the first
institutional courses in Italy on Art and the Internet in 1997 at the
Accademia Carrara di Bergamo.  He has edited more than forty art catalogues
and has worked internationally as a curator on more than fifty exhibitions
in Italy, Switzerland, Spain, Germany, Austria, Finland, Greece, Cyprus and
Mexico. In 2000 Romano curated a large exhibition of contemporary art of the
last decade at the Museo Michetti. This was followed in 2001 by "Media
Connection" an historical exhibition on Art and Technology at the Palazzo
delle Esposizioni in Rome and at the Palazzo della Triennale in Milan. 

Romano has published the following works: "Collecting Images" (Fondazione
per la fotografia, Turin 1997), a book for collectors of photography;
"Artscape: a Panorama of Art on the Net" (Costa e Nolan, Milan 2000), the
first survey of art on the internet; "Contemporary Women Artists: 1980-1999"
(with Emanuela De Cecco; Costa e Nolan, 2000), women artists from Cindy
Sherman to the present day; "Europe: Different Perspectives in Painting" (G.
Politi Editore Milan 2001).



10.05. Suzana Milevska, Critic and Curator, Skopje: CORRESPONDENCES AND
PRIVILEGES

My presentation at Manifesta 4 will deal with the correspondences between
the works of artists coming from Macedonia and the Balkans, and the works of
their colleagues done in another context, the Western art scene. The
customary 'privilege' of Balkan artists to make art out of the feeling of
uncertainty or 'apocalyptic' fear due to the continual political and
military conflicts in the region was somehow lost after the events of 11
September, so that the correspondences became more inevitable than ever
before. 
Along with the discussion of art issues, I would also like to focus on the
common prejudices of each art community about the privileged social position
of the others that I came across during my curatorial work. 

Suzana Milevska is an art theorist and curator.
She was born in 1961 in Bitola (Macedonia). In 1984 she received her B.A.
from the Art Department of St. Cyril and Methodius University in Skopje and
in 1993/1994 she studied philosophy, art history and architecture at the
Central European University in Prague.
She is currently a PhD student at Goldsmiths College. As a curator and
researcher she received the Research Support Scheme Grant (1997), an
ArtsLink Grant (1999) for the residency program at the school of the Art
Institute of Chicago and the Curatorial Research Fellowship of the P. Getty
Foundation for 2001. She has been publishing critical and theoretical essays
since the late eighties in numerous art and theoretical journals such as
Kinopis, Kulturen zivot, Golemoto staklo, Siksi, Index, Nu, Springerin,
Flash Art, Afterimage, Curare and she has participated in several
international conferences and symposia. She has also curated over fifty solo
and group exhibitions and international projects in Skopje ("Little Big
Stories" 1998, "Always Already Apocalypse" 1999, "Words-Objects-Acts" 2000,
"Capital and Gender" 2001), Istanbul ("Writing and Difference" 1992, "Self
and Other" 1994, "Desiring Machines" 1997, "Always Already Apocalypse"
1999), Providence USA ("Liquor Amnii II" 1997), Stockholm ("Little Big
Stories" 1998), Berlin, Stuttgart and Bonn ("Correspondences" 2001). 

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