Kunst & Kuratieren

Die internationale Frühlingsakademie des BERLIN ART INSTITUTs findet vom 27. – 30. April 2020 statt. Das Programm der Frühlingsakademie gestalten wir in Zusammenarbeit mit Künstler*innen und Theoretiker*innen. Dieses Jahr geht es um Kunst & Kuratieren. Wir planen derzeit, die Frühlingsakademie als Onlinekurs zu veranstalten!


Montag 27. April 2020
Einführung ins Thema und Q&A von Dr. Elena Agudio, Kunsthistorikerin, Kuratorin und künstlerische Kodirektorin bei S A V V Y Contemporary

“One could understand curatorial practice as a form of troubling, a space to foster the insurgency of alternative epistemologies and of heuristic disturbances. Here troubling should be understood positively: troubling canons, hegemonic knowledge systems, and confronting the difficult legacies in the present society. It is the trouble-maker, the killjoy that we need. There is too much curating and too much political thinking that is not concerned with questioning the logics by which we do things, and instead focuses on getting more things done in a bigger and more efficient ways. This talk grapples with the understanding of curating to use troubling as a form of public acting. Curating trouble could in fact mean ‘putting together’, ‘selecting’, ‘choosing’ the kinds of troubles we wish to enact, the gears we wish to grind. Curators as killjoys interrupt the happy, affirmative narrative about the present and past. In this talk I will elaborate on possibilities of interrupting narratives of white supremacy, and confronting the presumed happy progressive criticality of the contemporary art world, by naming its tokenistic essentialisms, its sexist reductions, and belittling patronisms. (Text by courtesy of Dr. Elena Agudio)

Elena Agudio is a Berlin-based art historian and curator. She studied Art History at the University of Venice – Ca’ Foscari and in 2010 she received her PhD in Contemporary Art and Design. She is interested in curatorial practices as forms of troubling, with a focus on its performative and relational aspects. Since 2013 she has been artistic co-director of SAVVY Contemporary, where she curates and co-curates exhibition projects, discursive programmes and series, among which recently: Speaking Feminisms/We Who Are Not The Same dedicated to an exploration of current feminist practices and alliances, That, Around Which The Universe Revolves investigating rhythmanalysis and the interrelations of space and time, memory, architecture and urban space, How Does The World Breathe Now, a film screening series critically reflecting on our now and the role of art in the society. She is also artistic director of the non profit association Association of Neuroesthetics (AoN)_Platform for Art and Neuroscience, a project in collaboration with the Medical University of Charité and The School of Mind and Brain of the Humboldt University encouraging both a dialogue and lasting cooperation between contemporary art and the cognitive sciences. She is member of *foundationClass at the Weissensee School of Art in Berlin, where she teaches art histories and runs seminars. In 2017 and 2018 she was Guestprofessor at HfBK (Kunsthochschule für Bildende Künste) in Hamburg and Resident Fellow at Helsinki University of the Arts.

Among the last curated and co-curated projects: Exlamating Still! On the Noise of Images (Rencontres de Bamako – African Biennale of Photography); Ultrasanity. On Madness, Sanitation, Antipsychiatry and Resistance (SAVVY Contemporary); Soil is an Inscribed Body. On Sovereignty and Agropoetics (SAVVY Contemporary); Ecologies of Darkness. Building Ground of Shifting Sands (SAVVY Contemporary); Whose Land Have I Lit On Now? Contemplations on the Notions of Hostipitality (SAVVY Contemporary); yet incomputable. Indetermination In The Age of Hypervisibility And Algorithmic Control (Sammlung Falckenberg, Deichtorhallen, Hamburg) SAVVY FUNK. An iteration of Every Time A Ear di Soun — a documenta 14 Radio Program (SAVVY Contemporary, Berlin, in collaboration with Documenta 14 and Deutschlandfunk); Ivana Franke: Retreat into Darkness. Towards a Phenomenology of the Unknown (Schering Stiftung, Berlin), Amos Gitai. The Law of the Pursuer (Forum Expanded, Berlinale 2017, SAVVY Contemporary); The Incantation of the Disquieting Muse. On Divinity, Supra-Realities or the Exorcisement of Witchery (SAVVY Contemporary, Berlin), What the Tortoise murmurs to Achilles. On Laziness, Economy of Time and Productivity  (SAVVY Contemporary, Berlin), Feeback Control Mode (HALLE 14, Leipzig), Giving Contours to Shadows (Neuer Berliner Kunstverein n.b.k., Maxim Gorki Theater, SAVVY Contemporary, VANSA Johannesburg, Kër Thiossane Dakar, Marrakech Biennale), The Ultimate Capital is the Sun. Metabolism Metabolismus in Art, Politics, Philosophy and Science (nGbK Berlin), In other Words. The black market of translations – negotiating contemporary cultures (nGbK Berlin and Kunstraum Kreuzberg Bethanien).

Dienstag 28. April 2020
Vortrag und Q&A von Övül Durmusoglu, Kuratorin, Autorin & Gastprofessorin an der Graduiertenschule im Berlin Centre for Advanced Studies in Arts and Sciences (BAS) der Universität der Künste Berlin 

Övül Ö. Durmusoglu is a curator and writer living in Berlin. Her interests lie in the intersection of contemporary art, critical and gender theory, politics and popular culture. As a curator, she acts between exhibition making and public programming, singular languages and collective energies, material and immaterial abstractions, worldly immersions and political cosmologies. Currently, Övül is mentor and program leader in the Graduate School in University of the Arts in Berlin; section curator for ARCO Madrid and guest curator in CA2M Madrid. Her very recent curatorial project ‘Stars Are Closer and Clouds Are Nutritious Under Golden Trees’ has taken place in the MMAG Foundation, Amman. In the past, Övül was curator for steirischer herbst festival in Graz; curator/director for YAMA public screen in Istanbul; curatorial advisor for Gülsün Karamustafa’s ‘Chronographia‘ at Hamburger Bahnhof, artistic director for the festival Sofia Contemporary 2013 titled as ‚Near, Closer, Together: Exercises for a Common Ground’. She curated programs within 10th, 13th and 14th Istanbul Biennials; coordinated and organized different programs and events at Maybe Education and Public Programs for dOCUMENTA (13). She has taught in Nuremberg Academy of Fine Arts, Linz University of Arts, and Muthesius Arts University in Kiel. With her writing Övül contributes to different publications, online platforms and magazines such as Texte zur Kunst and Frieze.

Mittwoch 29. April 2020
Vortrag und Q&A von Krist Gruijthuijsen, Kurator, Kunstkritiker & Direktor KW Institute for Contemporary Art

Krist Gruijthuijsen spricht über seine kuratorische Praxis, die Struktur und den programmatischen Ansatz und das aktuelle Programm der KW.

Krist Gruijthuijsen (* 1980, NL) ist Kurator und seit dem 1. Juli 2016 Direktor der KW Institute for Contemporary Art in Berlin. Dort hat er Ausstellungen u.a. mit Hanne Lippard, Ian Wilson, Adam Pendleton, Ronald Jones, Hiwa K, Willem de Rooij, Beatriz González, David Wojnarowicz und Hreinn Friðfinnsson kuratiert. 
Von 2012 bis 2016 war er künstlerischer Leiter des Grazer Kunstvereins, 2011 bis 2016 Kursleiter für den Masterstudiengang Bildende Kunst am Sandberg Instituut in Amsterdam. Krist Gruijthuijsen ist einer der Gründungsdirektoren des Kunstvereins in Amsterdam und hat in den letzten zehn Jahren zahlreiche Ausstellungen und Projekte organisiert, unter anderem im Rahmen der Manifesta 7 als Teil des kuratorischen Teams von Adam Budak (Trentino/Südtirol, IT), im Platform Garanti Contemporary Art Center (Istanbul), im Artists Space (New York), im Museum of Contemporary Art (Belgrad), im Swiss Institute (New York), in der Galeria Vermelho (São Paulo, BR), im Stedelijk Museum (Amsterdam), im Van Abbemuseum (Eindhoven, NL), im Arnolfini (Bristol, GB), im Project Arts Centre (Dublin), im Utah Museum of Contemporary Art (Salt Lake City, US) und im Institute of Modern Art (Brisbane, AU).
Gruijthuijsen hat in zahlreichen Kooperationen mit dem JRP|Ringier Kunstverlag, mit Sternberg Press, Mousse Publishing Printed Matter, Inc., dem Verlag der BuchhandlungWalther König und mit Kunstverein Publishing veröffentlicht. Zuletzt erschienen MIERLE LADERMAN UKELES – SEVEN WORK BALLETS (Sternberg Press, 2015), VINCENT FECTEAU (Sternberg Press, 2015), WRITINGS AND CONVERSATIONS BY DOUG ASHFORD (Mousse Publishing, 2014), LISA OPPENHEIM: WORKS 2003–2013 (Sternberg Press, 2014), THE ENCYCLOPEDIA OF FICTIONAL ARTISTS AND THE ADDITION (JRP|Ringier, 2010) sowie diverse weitere unter dem Schirm von Kunstverein Publishing.

Donnerstag 30. April 2020
Vortrag und Q&A What ever happens we must be prepared* von Maria Isserlis, Kuratorin, Kunsthistorikerin & Mitbegründerin der  kuratorischen Plattform A:D: in Berlin & Dresden

*Alban Muja

The lecture by Maria Isserlis will offer some insights into creative exhibition making and her recent projects: Dreams of Freedom. Romanticism in Russia and Germany, Albertinum, Dresden and Solo Show of Alban Muja at the National Gallery of Pristina, KO.

Während ihres Studiums der Kunstgeschichte und Medienwissenschaften an der Friedrich-Schiller-Universität hatte Maria Isserlis (Ukrainerin, geb. 1986) bereits ein Praktikum als Assistenz-Kuratorin an der Staatlichen Eremitage begonnen. Anschließend war sie Assistenz-Kuratorin in der Abteilung für zeitgenössische Kunst der Staatlichen Eremitage und arbeitete parallel als freie Kuratorin für das Goethe-Institut in St. Petersburg.

Nach dieser Erfahrung zog sie nach Berlin und arbeitete mit dem Haus am Waldsee zusammen. Seit Juni 2013 arbeitet Maria als Projektleiterin der Manifesta 10 in St. Petersburg. In Zürich trat sie dem Kuratorenteam der Biennale bei. In 2016-17 wurde Maria als Ausstellungsleiterin zur V-A-C Foundation in Venedig eingeladen. In den Jahren 2017 und 2018 war sie Co-Kuratorin der ersten und zweiten Ausgabe des AKI AORA Forschungsprogramms in Tulum, Mexiko. Seit September 2019 ist Maria Mitglied des Kuratorenteams des Museums Albertinum (Dresden). Derzeit kuratiert Maria die Einzelausstellung von Alban Muja in der Pristina National Gallery (Pristina, KO).

Die Teilnahmegebühr beträgt 140 € pro Person. Für TeilnehmerInnen im BAI Studioprogramm in Block 05 oder im BAI Programm für Freundinnen und Freunde ist die Frühlingsakademie kostenfrei.

Die Teilnahmekosten sind seitens der Regierende Bürgermeister von Berlin – Senatskanzlei Wissenschaft und Forschung umsatzsteuerbefreit gemäß § 4 Nr. 21 Buchstabe a Doppelbuchstabe bb UStG.

27. – 30. April 2020 | Internationale Frühlingsakademie