visits on art, design, architecture and literature

Category: lecture events

Munich: at Haus der kunst; Conference on “Postwar – Art Between the Pacific and Atlantic, 1945-1965″ Day 4-Saturday

Afternoon panel 2; “New Practices in /of the Social and Concluding Notes of the Conference by Okwui Enwezor

photo copy 6


The late 1950s and 1960s present a turning point in artistic production, with a number of artistic experimenting with mutable materials and pioneering an altered relationship with the social. The concluding panel turns to this crucial historical juncture to examine the theoretical and conceptual challenge that such practices presented for the  strictures and closures of the art world, both during and beyond the postwar decades.

panelists: Nicholas Cullinan, Metropolitan Museum of Art, New York, “USA;Arte Povera; Against the ‘First World’; Midori Yamamura, Pratt Institute, New York, “USA: Zero on  Sea”; An International Crossroad for the Art of active Social Engagement, 1955-1965″; Lara Demori, University of Edinburg, “redefining New-avantgardes at the Margins:Manzoni and Oiticica’s Subversive Practice”; Isobel Whitelegg, Nottingham Contemporary, “At the Crux of the Postwar – Collective Exhibitions at Signals London (1964-66)”

Munich: at Haus der kunst; Conference on “Postwar – Art Between the Pacific and Atlantic, 1945-1965” Day 3-Friday

A great day at the conference with some amazing papers presented by wonderful scholars

photo copy 59.30-10.15 am  Keynote: ” Paolozzi in Postwar  Paris: The Second American Invasion”  presented by Dr Walter Grasskamp, Akademie der Bildenden Künste, Munich

…Eduardo Paolozzi, born in 1924, stands for a dramatic blend of twentieth-century migration. In 1947 Paolozzi lived in postwar Paris, visiting french heroes of prewar modernism. He also joined the  local colony of remaining GIs, who supplied him, an expatriate still accustomed to austerity, with magazines and films filled with colorful impressions of a consumer paradise across the Atlantic. Here, Paolozzi became the first artist to map the second American invasion, one of consumer goods and media cliches, which would transform European everyday culture in the decades to come – insufficently, but not completely wrong, labeled pop culture. “

Continued with Panel 1: Concrete Visions, Transatlantic Worlds

Adapting an approach that is both regionally specific and cross-culturally comparative, this panel situates the production and reception of Concretism within transatlantic networks that stretching from Paris to Buenos Aires, Sao Paulo to Munich. A focus on Latin America further brings to surface complex negotiations between the social and the aesthetic, offering critical perspectives on radical and intractable realignments of artistic centers and peripheries during the tumultuous decades following the end of the Second World War.

panelists: Abigail McEwen, University of Maryland,  “Cuba’s Concretos: the Constructivist Revolution”  ; Federico Deambrosis, Politechnico di Milano, “Time, Space, Borders: A Possible Map of Concrete Art from an Argentinian Perspective ” ; Susanne Neubauer, Freie Universitat, Berlin “Politicla Entaglements of Brazilian Modernism and is Reception in Postwar Germany, 1951-1959″and Gerardo Mosquera, Independent Curator, Havana and Madrid, “Brazil: Disarranging Concretism”

In the afternoon, “Nation(s) Seeking Form . How might artistic and intellectual movements from the former colonies and peripheries impact our understanding of postwar modernism? Through specific  case studies, the panel presents a socio-historical and critical understanding of postwar aesthetic practices in Africa and the Middle East.

panelists: Sam Bardoui, Art Reoriented and Ludwig-Maximilians-Universitat, Munich ” I  See Wonderful Things! The Art and Liberty Group and Manifestations of Surrealism in Egypt 1939-1945″; Nada Shabout, University of North Texas, “Enemy of the People: The Baghdad Group of Modern Art”; Chika Okeke-Agulu, Princeton University, “Ucke Okeke, Ibrahim El Salahi, and Postcolonial Modernism in the 1960s” and Burcu Dogramaci, Ludwig-Maximilians-Universitat, Munich “A Look Back to the Future: Art in Turkey in the 1950s”



Munich: at Haus der kunst; a 4 day Conference 21-24.05.14 on “Postwar – Art Between the Pacific and Atlantic, 1945-1965”


The “Postwar” research and exhibition project includes a broad spectrum of events, conferences, and publications, of which the four-day international conference “Postwar — Art between the Pacific and Atlantic, 1945–1965″ is the first. The conference is organized by Haus der Kunst in collaboration with Tate Modern, the Institut für Kunstgeschichte, LMU München, and the Zentralinstitut für Kunstgeschichte, Munich.  The conference is held in english.

Conceived as an in-depth study of the postwar period, the four-day international conference, “Postwar – Art between the Pacific and Atlantic, 1945–1965″ shifts from a Western/European vantage point to redirect attention to a multifocal and polyphonic history of art since 1945. By following the sweeping lines of the two oceans across Europe, Asia, the Pacific Rim, Africa, the Mediterranean, North America, and South America, “Postwar” straddles continents, political structures, economic patterns, and institutional frameworks to understand the complex legacies of artistic practice and art historical discourses that emerged globally in the aftermath of World War II’s devastation. (from the HdK press) 


programme: http://postwar.hausderkunst.de/index.php/konferenzen/konferenz-mai-14/programm-neu/

Munich: Kunstverein k.m; 7 pm presentation “The Further Adventures of Parlando, Melisma, and the Cookie Master: a brief history of unique singing techniques” by curator Mark Beasley

The Further Adventures of Parlando, Melisma, and the Cookie Master: a brief history of unique singing techniques

Due to the exhibition “La Voix Humane” curator Mark Beasley  presented a listening-session and brief history  of vocalization and Extended Vocal Technique from female pioneers Patty Waters, Cathy Berberian and Joan La Barbara; Grindcore and the Death Growl to the current re-examination of voices as material in the work of Florian Hecker, Stine Motland and C. Spencer Yeh.

Mark Beasley

Mark Beasley is a curator and writer based in New York. He is currently curator at Performa, and programmed and commissioned a series of vocal concerts and artist’s projects for Performa 13. He recently organized a performance series in conduction with the retrospective exhibition of Mike Kelly at MoMa PS1, New York that included Michael Smith and Blowfly, X-TG and Kim Gordon and Jutta Koether. His recent curatorial projects with the Performa biennial include Florian Hecker’s C.D.- A Script for Synthesis, France Stark and Mark Leckey’s Put a Song in Your Think at Abrons Theater; Robert Ashley’s That Morning Thing at the Kichen; Mike Kelley’s Day is Done at Judson Church; Arto Lindsay’s Somewhere I Read, and the experimental music festival (co-curated with Mike Kelley) A Fantastic World Superimposed on Reality. His first LP with the group Big Legs will be released on Junior Aspirin Records in Spring 2014.


Munich;Haus der Kunst; Lecture “In the Concreteness of Abstraction: Modernism and Modernization in Postwar India” by Atreyee Gupta

LECTURE 14.01.14, 7 pm

I attended an  amazing lecture  by Atreyee Gupta, Goethe-Institut Postdoctoral Fellow (Berkeley/München)

“Situating art at the intersections of postwar scientific developments and the modernizing aspirations of a new nation-state, this talk examines the emergence of an inter-mediatic aesthetics of abstraction in 1950s and 1960s India….

“…Attending to trans-continental exchanges made possible through the artists’ interlocutions with figures such as Le Corbusier, Lucien Hervé, and Clement Greenberg, the talk seeks to foreground the ways in which postwar modernism in the post-colony intersected with the trajectories of modernism in Western Europe and North America but also significantly complicated its universalizing claims.”….

….Atreyee Gupta’s research centers on questions of postwar modernism and the politics of inhabitation, corporeality, and sensoriality, the intersections between modern art and processes of modernization in post-colonial contexts, institutional histories of modernisms, and aesthetics as a form of postwar global cultural capital.

more here at HdK site

Munich; Barbara Gross Galerie;Carlos Garaicoa

11.9.2013-January 17, 2014

Artist talk
Carlos Garaicoa and Okwui Enwezor,
Director Haus der Kunst München
Saturday, November 9, 2013, 6 pm

Carlos Garaicoa, Wer im Glashaus sitzt...

Carlos Garaicoa casts a critical eye upon the connections among architecture, ideology, and power structures.
The question of the guilt and innocence of architectural forms serves as a parentheses for the works that Garaicoa has created for the exhibition in Munich. At the center of the show are two iconic buildings, whose symbolic language is exposed by the artist’s deliberate shifts in size and material: the German Federal Bank headquarters in Frankfurt and the Haus der Kunst in Munich.

more here 



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