Egyptian Secrets, or Pawel investigates the after life of James Lee Byars
During his two week stay in Cairo, Pawel Kruk restages The Ghost of James Lee Byars, the artist’s seminal 1969 work: a completely lightless environment. First installed in Düsseldorf, it consists of an empty, pitch-black room. The work has since been recreated in several group exhibitions, each providing the darkness with a different reading based on the context in which it’s displayed. For his project, Kruk presents The Ghost of James Lee Byars in a hotel room at the Mena House Hotel (1) where the artist died in 1997.
In his project, Pawel Kruk intends to explore the tension between what we know and what we do not know; between the visible and invisible knowledge. He’s interested in the mechanisms that created the myth of James Lee Byars as well as in the aftermath of his death. Approaching Cairo as if it was Byars’ crypt, he aims at locating and interviewing people the late American artist met or worked with while living in Cairo before his death. He also hopes to create a temporary archive assembled of objects and memories that indicate Byars' presence in Cairo. The results of his research, some physical and some ephemeral, in its work-in-progress stage, will be presented during a performance hosted by Beirut (2) in Cairo. By restaging The Ghost of James Lee Byars and by presenting the results of his research, Kruk hopes to give the local audience and himself some context of what remains of Byars in Cairo.
1. Mena House is one of the most unique hotels in Cairo, a place with a rich and colorful history. Surrounded by 40 acres of lush green gardens, the hotel is located in the shadow of the Great Pyramids of Giza in Cairo. Mena House played host to kings and emperors, Heads of State and celebrities. For Pawel, Mena House is mainly a place where James Lee Byars died of cancer in 1997.
2. Beirut is a new initiative and space for art in Cairo, founded in May 2012 by Sarah Rifky and Jens Maier-Rothe. Beirut’s activities are centered around hosting artists, artworks, research projects and other institutions (locally, regionally, internationally) that wish to engage with similar questions we share concerning politics, economy, education, ecology and the arts.
Klimawandel, Urbanisierung, invasive Arten, oder Eutrophierung verändern Ökosysteme fundamental. Zunehmend gehen Ökologen davon aus, dass Ökosysteme durch gezielte Neu-Gestaltung an diese anthropogene Veränderungen angepasst werden müssen. Konzepte wie ‚ecological design’, ‚intervention ecology’, ‚re-wilding’, ‚resurrection ecology’, ‚assisted migration’ oder ‚reconciliation ecology’ propagieren verschiedene Formen des Re-designs der Natur zur Erhaltung von Biodiversität und Ökosystemdienstleistungen. Gemeinsam mit einer Professorin für interaktive Kunst und Wissenschaftskommunikation analysieren wir diese neuen Vorstellung der Beziehung vom Menschen zur Natur, vergleichen diese mit aktuellen Arbeiten von Künstlern zum Thema, und diskutieren Fragen wie: Welche Natur wollen wir in Zukunft? Welche Kommunikationsformen sind geeignet, um als Wissenschaftler gemeinsam mit der Bevölkerung Zukunftsvisionen der Naturgestaltung zu verhandeln?
Climate change, urbanization, invasive species, or ecosystems eutrophication are causing fundamental anthropogenic changes. Increasingly ecologists are assuming that ecosystems need to be adjusted through targeted new design concepts to deal with these changes. Concepts such as ecological design, intervention ecology, re-wilding, resurrection ecology or assisted migration, reconciliation ecology are new terms that propagate interests in various forms of re-designing nature. Artists main aim is still to conserve biodiversity and ecosystem services but do other aims also exist?. How are artists and designers representing the changing relationships between humans and “nature” today? What is the definition of "nature" in the future and what do scientists need to know about design and communication to cause more post reflection or share definitions about the future of "nature" with the general public?
The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.
Der Abend wird moderiert von Boris Magrini.
OPEN STAGE ist eine von der TanzLOBBY IG Tanz Zürich neu initiierte Plattform, die keine Grenzen kennt. Ob work in Progress, Research Arbeiten, Adhoc Performances, oder Experimente, die Tanzschaffenden entscheiden selber, was sie zeigen wollen. Open Stages fanden bereits in der Roten Fabrik statt und 2015 im Tanzhaus Zürich sowie bei Zürich tanzt.
Bitte reservieren Sie unter firstname.lastname@example.org Ihren Platz frühzeitig.
Türöffnung und Bar um 16:30 Uhr
Beginn Performances 17:30 Uhr, Dauer ca. 90 min
Anschliessend Gespräche an der Bar
During this Theory Tuesdays session, Anke Schorr will screen “Profondo Rosso” (Deep Red, 1975, Dario Argento) – which is considered to be one of the most classic movies of the “Giallo” film genre. This film can be viewed in dialogue with Antonioni’s “Blow Up” (1966), pondering the profound yet slippery correspondence between the plot and a banana peel (which will be represented by Anke being dressed up as one).
A performance-conference to carry out conceptual research while exploring Raphaële Bidault-Waddington's work with Sylvain Menétrey
Ever since 2000, French artist Raphaële Bidault-Waddington has been developing a complex and diversified process that spans immaterial formats of conceptual art to manual and sensual works. The artist emphatically endorses this diversity which she stages using a pseudonymous strategy. Rather than adopting conventional aliases, Bidault-Waddington describes her pseudonyms as art-based research laboratory stemming from acronyms and logos which she draws from corporate aesthetics and language.
Hence LIID ® (Laboratoire d’Ingénierie d’Idées – www.liid.fr) is the laboratory for engineering ideas wherein Bidault-Waddington develops her conceptual research projects – creating diagrams, exploring the notion of aesthetic intelligence as well as pursuing both conceptual and collaborative research on the aesthetic dimensions found in organizations. PIIMS ® (la Petite Industrie de l'Image Sensorielle) meaning the Small Industry of Sensory Image, is the vehicle she uses to focus on urban design as well as information architecture through photographic sampling and composition whereas her laboratory for creating or experimenting with textiles is known as la Raffinerie Poétique ®, meaning the Poetic Refinery.
Parallels can be drawn between the structure of these art laboratories and corporate R&D departments or branches of academic institutions involved in research and innovation. The laboratories revolve around the figure of the artist herself, multifaceted and empowered by the freedom to activate any or all of them depending on her needs, projects or desires. Far from adopting the form of insular entities, interaction between the three laboratories along with various external organizations (cities, universities, companies, etc.) leads them to influence and inspire each other. Bidault-Waddington has thus created an original artistic ecology and economy that reflects her interest in system analysis, cartography, model-making, fictionalization and future planning - be it on a local, urban or global scale.
Semiospace, a neologism that can be freely defined as the combination of mental and material space, is a fitting term to evoke Bidault-Waddington's expanded and multidimensional work in a cross-sectional manner. The artist often operates as a quasi-scientist by delineating an area of research and extracting data, signs and information. Artistic activity therefore functions as would a refinery - to coin the artist's own term – that transforms the various elements into imaginary landscapes. Thought is converted from a solid to a gaseous state, giving it free rein to form associations and amalgams at will, combining accuracy as well as mental plasticity while delighting in abstraction and speculation.
Led by author and curator Sylvain Menétrey, the Corner College conference serves to apply this sublimation process to exploring Bidault-Waddington's various semiospace prototypes while simultaneously experimenting with collective (audience participation inclusive) design and performance enacting this essential concept.
During this Theory Tuesdays session, Leila will present excerpts from the book, "ABC of Reading" (1934) by Ezra Pound.
A .pdf of the excerpts will be posted soon. It's encouraged that you read them beforehand, to participate in the discussion.
A Concert With or Without You
Mandarin 101 - Tiān Rén Hé Yī
During this Practical Fridays session, artist and part-time Mandarin teacher Pei will introduce Mandarin characters and pronunciation.
During the workshop, we will begin with one of the simplest Mandarin characters - 人 Rén (human, person). The goal is to familiarize the participants with the basic components of the Mandarin characters; from the strokes, to the units and finally, the assembly.
We will collectively learn how the characters are formed to depict the pictorial into a meaningful interpretation. To conclude, we will practice groups of initial, final and medial of phoneme with a "four-tone" system, so everyone will then be able to read "PinYing" (the alphabetical spelling of Mandarin).
The workshop is free, open to the public and will be held in English. No prior experience with Mandarin is necessary.
Theory Tuesdays, Session 1, 06.10.2009
During this final Theory Tuesdays session at Corner College, Philip Matesic, the founder and coordinator of the discussion group, will host a special event.
Theory Tuesdays Blog: http://theorytuesdays.blogspot.ch