Showing implies that something is put on display. Its visibility, however, is based on different forms of visualities, of ephemeral constellations, and subjacent archives that follow different narratives and regulations. How can the act of showing be shown itself?
2 p.m. Introduction
2:30 p.m. Michael Riedel: Formen der Selbstbeschreibung (Forms of Self-Description) | Lectured Lecture
6 p.m. Thomas Weski: The Invisible Part of the Iceberg | Talk
“Show” is part of “Show and Try Again” – 10th anniversary of the master program Cultures of the Curatorial Curatorial Program 26–30 November 2019
Space and Graphic Design: Joram De Cocker, Eva Dumoulin, Alexander Meyer, Lu Qijing
Concept: Beatrice von Bismarck, Julia Kurz, Maureen Mooren, Benjamin Meyer-Krahmer, Agnieszka Roguski Collaboration: Malin Gewinner, Herman Verkerk
26.11.2019 | SHOW
Michael Riedel: Formen der Selbstbeschreibung (Forms of Self-Description) | Lectured Lecture
“The need for commentary on art has been Riedel's source of almost inexhaustible quantities of textual material since the mid-1990s, from which his imagery has systematically developed. From the paper bag with his name, which when put on makes him disappear as an artist behind the self-description, to numerous sound recordings that record his artistic life and make them readable in the form of equally extensive transcriptions, right down to the abundance of ready-made descriptive material that is generated by the increasing social message requirement on the World Wide Web, it is always the self-description of the art system, which Riedel takes up artistically and repeatedly communicates as ongoing work. The question, is this still art or merely the description of art that does not exist, remains open. The fact is that, in the last twenty years, the Riedel autonomist has impressively realized the artistic concept of self-perpetuating production mechanisms.” www.michaelriedel.net/mdbk
Michael Riedel Is a Professor for Painting and Graphic Design at the Academy of Fine Arts Leipzig since 2017. His recent solo shows include zɛlpstbəˈʃʁaɪ̯bʊŋ, Museum der bildenden Künste Leipzig, (2019), Grafik als Ereignis, Museum Angewandte Kunst Frankfurt M., (2018), CV [Curriculum Vitae], Kunsthalle Zürich, (2017), Dual Air [Dürer], Palais de Tokyo, Paris, (2013–2015), Kunste zur Text, Schirn Kunsthalle, Frankfurt M., (2012). His work is represented in public collections such as Centre Pompidou, (Paris), Städelmuseum, (Frankfurt M.), The Museum of Modern Art, (New York), Haus Konstruktiv, (Zürich), and Stedelijk Museum, (Amsterdam), among others.
Mauren Mooren: Exhibition Design | Lecture How does exhibition design work as a practice of knowledge? What roles does it imply? How does a model relate to the actual exhibition space? In her lecture, Maureen Mooren talks about her role as a graphic designer for exhibitions and as an Art Director for Het Nieuwe Instituut in Rotterdam. Taking the exhibition making of Het Nieuwe Instituut as a starting point, she discusses the role of a spatial designer, the role of a graphic designer and the role of a curator.
Maureen Mooren studied graphic design at the Willem de Kooning Academy Rotterdam. Her work focuses on dealing with questions of representation. She independently develops corporate designs, books and print material, especially for cultural institutions such as the Holland Festival, Marres Center for Contemporary Culture Maastricht and the initiative If I Can't Dance, I Don't Want To Be Part Of Your Revolution. She also designs artist's books, most recently for Manon de Boer, Joachim Koester and Keren Cytter. In 2011, she was one of the exhibiting artists of “Opera Aperta / Loose Work” in the Dutch Pavilion at the 54th Biennale di Venezia. Mooren has been responsible for the visual identity of the Het Nieuwe Instituut Rotterdam since October 2013. From 2011 to 2014, Mooren taught at the ArtEZ Institute of the Arts Arnhem on the Faculty of Graphic Design. In addition, she taught from 2011 to 2014 at the Werkplaats Arnhem in Typography. Since 2014, she is Professor of System Design at the Academy of Fine Arts Leipzig. Maureen Mooren lives and works in Leipzig and Amsterdam.
Thomas Weski: The Invisible Part of the Iceberg | Talk When an exhibition opens, it is not just a process of research, selection and contextualization that lies behind it, but also a multitude of things that are not shown. That does not, however, make them less important, rather it provides the necessary foundation for everything that is shown. Thomas Weski calls this foundation “the tip of the iceberg” and discusses with Julia Kurz and Agnieszka Roguski, using the example of two exhibitions curated by him, how a body of work is made visible through various forms of attribution and authorship, presentation in space and the transfer of materiality.
Thomas Weski, born in Hannover in 1953, was Curator of Photography and Media at Sprengel Museum Hannover, and Chief Curator at Museum Ludwig, Cologne, and Haus der Kunst, Munich. He was Professor of Cultures of the Curatorial from 2009 until 2015 at the Academy of Fine Arts Leipzig. Since then, he is Curator of the Foundation for Photography and Media Art with the Michael Schmidt Archive, Berlin. Weski has curated numerous exhibitions on photography in his various positions. Currently, he is curating a retrospective of Michael Schmidt's work for the Nationalgalerie Hamburger Bahnhof – Museum für Gegenwart – Berlin, opening May 2020, which will travel to Jeu de Paume, Paris; Reina Sofia, Madrid; and Albertina, Vienna.