Achterbahn der Gefühle: Kurzgeschichten (German Edition)

NIVUS Contact Form

---

Naumburg an der Saale: Jahrgang PDF Online. Igl pi grond parc natural PDF Download. PDF Jahre Jazz: Von der Klassik bis zur Moderne: PDF Aristoteles im Kontext: PDF Bamberg im Mittelalter: Die Rechte Hand Gottes [hardcover] Download. Aus dem Alltag eines grandios gescheiterten Ehemanns Download. PDF Das lustigste Witzebuch: Die lustigsten Top 10 Witze: Der Zweifel und der Wille zum Selbst. Hexenfiguren im Werk von Ernst Barlach ePub.

Special offers and product promotions

Eine Reportage aus Deutschland Download. Sprache - Rasse - Religion Download. PDF Fotografie und museales Wissen: PDF Gartenkunst in Berlin: PDF Haftraum 21 ePub. Die Geschichte eines viel zu kurzen Lebens Download. Land und Leute Classic Reprint Download. PDF James dean ePub. Sterne Ausgabe ePub. Tier und Mensch' ePub. Der ganze Kwatsch fon die letzten Jahre Download. Lieder rund um die Schule Download. Band II, Teil 3: PDF Storia economica dell'Europa. Konkurrenz und Kongruenz der Integrationsprozesse Amerikas Download.

PDF Was ist Wirtschaft? Theoretische und experimentelle Kritik an Piaget's Lehre zur Invarianzgenese. Read 1x1 des Wissens - Allgemeinbildung. Was man heute wissen muss: Was man heute wissen muss PDF. Read Blasen- und Nierenerkrankungen: Galileo Computing von Kai Laborenz Read Das aktuelle Erbrecht: Read Der Bremer Dom. Read Der Erwerb von Konstruktionen im Nachfeld: Read Deutsche Briefe der Liebe und Freundschaft. Read Die verkaufte Kindheit: Read Geschichte Des Russischen Staates: Read Grund- und Aufbauwortschatz Baby und Familie: Alphabetisches Verzeichnis zur Internationalen statistischen Klassifikation der Krankheiten verwandter Read Im Irrgarten der Liebe: Dreiecksbeziehung und andere Paarkonflikte PDF.

Read Kanon und Literaturgeschichte: Kompakt und informativ Erkennen und bestimmen PDF. English Choose a language for shopping. Explore the Home Gift Guide. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon.

Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. ComiXology Thousands of Digital Comics. He investigated the recent developments of dispositifs that allow immersion into a virtual reality: Surprisingly, most of these so-called innovative dispositifs have existed since the beginning of the s but had not found a sufficiently large public at the time, which was turned towards the years He raises questions about the reasons that are finally stoking an interest with a larger public today, almost 30 years later.

The fiction VR Boxing thus raises questions about the practices of the body — here, sports, or more precisely, boxing — in the era of these virtual reality dispositifs. A boxer whose movements are registered by captors is not physically confronted with his adversary in a ring but fights a numerical simulation of another boxer, present in another physical space hundreds of kilometers away. When a punch hits its target, an electrical discharge is sent to the adversary through his suit.

A journalist interviews the boxer on the evolution of his sport, his perception of violence, his relation to the numerical dispositif that replaces physical interaction, etc. The shooting takes place in two phases: Capturing of movements operated at Artanim, Meyrin. Two flyers for the exhibition. This exhibition was made possible by the kind support of the French Embassy in Switzerland. Friday, 05 August , at Emporium of Benevolent Data. Exhibition views from the opening. Saturday, 20 August , starting at Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten — Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus.

The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit.

At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience.

Synonyms and antonyms of Freifallturm in the German dictionary of synonyms

It does not require particular dance skills. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism.

The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.

Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation of historiography.

The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. The artistic work is to be presented in the form of a video installation, a performance, and research material. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies.

Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space.

The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. Sometimes they are concepts, or poems. In the words of DFS , they are think-text-iles. For their live performance dance construction Love Any Out of 90 Seconds End , Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace.

As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life.

Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body.

united p.c. Verlag [WorldCat Identities]

Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds.

A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization. Esther dances together with Cristina , and Wolfgang sings. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage — a material production of desires.

Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language. Love makes the movements a dance of refusal. Love is not work!

Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. Saturday, 08 October , starting at It really seemed to write itself.

Frank Baum, the author of The Wonderful Wizard of Oz With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. A journey like a blank page. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. The grass is always greener on the other side of the fence. These are the yellows of hope. The joy of black and yellow Prospect Cottage.

Black as pitch with bright yellow windows, it welcomes you. Yellow is a combination of red and green light. There are no yellow receptors in the eye. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. I join the march. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. The root of the red is life itself. Diese Ausstellung ist Teil der Plattform Transferences: Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at Sunday, 19 February at The studio might be a space where a certain degree of autonomy can be detected.

The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.

Following psychoanalytic practices, the project Part I: It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc. Work is here used not necessarily to designate an art object.

The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity. The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work.

Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches.

Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Aesthetic Agency and the Practices of Autonomy The operations of Moral and Politics, Aesthetics and Immanent Critique, invite a re-thinking in the sense of the moral fight Nietzsche , as Gilles Deleuze puts it in his essay about Foucault: All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does.

Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy. Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too.

For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed. The interior, whether a home office or a study room, provides clues to the personality living or working there.

Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles.

Invitiation card for the exhibition. Thursday, 2 March , Saturdays, 4 and 11 March , They will then be transported to Corner College for a public mis a nu par un objet. Corner College le public mis a nu par un objet Sunday, 19 March , The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4.

Aesthetic Agency and the Practices of Autonomy.

Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K. At the same time, it is haunted by a radical instability. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept.

Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.

Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.

There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it. In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false the fancy, or funky.

The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics. Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth. We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters.

Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording.

During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape.

This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision. But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse.

And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest.

This makes its psychological function all the more important: Improper Thinking by Daniel Kurjakovic in: The Great Western Possible , ed. Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general.

It is doubtful whether this course ever took place. During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy. This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance.

Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting.

The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away.

Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment?

Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning. The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually.

In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries. An orientation device Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.

Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space. Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.

These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity.

A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated.

The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland. Mai - Samstag, Dieses Tempus kann sich sowohl auf die Gegenwart als auch auf die Zukunft beziehen: Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt.

Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.

Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture.

Additional Events Listening Sessions: RSI is an avant-garde radio station featuring sports and cultural content.

Contact Us!

Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Eigentlich nicht die Serie, sondern bloss die Storyline von Clarke und Lexa: Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert.

Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.

Saturday, 5 - Thursday, 31 August Saturday, 5 August , Thursday, 31 August , Guided tour with the curators and Kosta Tonev, with coffee, tea and cake. Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten.

Everything I did during my stay in that place was to match up the inside with the outside. To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place. Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event.

Site-specific installation, video, archive materials, wallpapers. The work makes a connection between two places founded by Durand: She then founded the journal La Fronde The Sling , a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack.

Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition. My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall.

In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.

It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy. The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold.

Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. Une prise de parole 13 - 29 October Opening Friday, 13 October at Friday, 27 October at Book as Performance in conversation with Georg Rutishauser. Nicole Bachmann, I say , Opening 5 November , The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice. The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression.

I/O Modules

Thursday, 07 December , Friday, 08 December , The research project Art Work ers began from a set of historical facts and some intuitions: Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials. Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project. Dieses Jahr wird unsere Ausstellung an einem sehr besonderen Ort stattfinden: Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7.

Januar , Uhr Anreise: From Abdizuel to Zymeloz Donatella Bernardi. Collection Musei Capitolini, Rome. Jeder Streifen ist mit dem Namen eines Engels bestickt. Hier gibt es nur eine. Four hundred and ten samples of what things could be like — hue, texture, printed pattern or monochrome surface, opaque or transparent, smooth or striated. When a child is named, two lists are traditionally composed before the birth.

Here there is only one. Friday, 16 March , Stefan Jaeggi Donatella Bernardi b. Nicola Genovese is an artist and musician from Venice, Italy. He mainly works with installation and performance.

• Songs of Attraction
• Bellybuttons Are Navels
• History of Australia and New Zealand From 1606 to 1890
• Peaceful Peoples: An Annotated Bibliography
• The Magic Fairy Dolls in Mermaid Fun