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Blog – Kunsthalle Zürich

08.06.2015 – Julia Moritz

Die Neue Peinlichkeit

A collaborative program by/with/at Helmhaus Zürich, Kunsthalle Zürich, Shedhalle, Migros Museum für Gegenwartskunst, Haus Konstruktiv and UP STATE

Damn it. I’m blushing. Again. Though he’s just handing me nail polish. Well, in the middle of the open plan office… And yet: Who hasn’t!? The office above this white space is certainly not meant for the exchange of cosmetics, any type of private pleasure. The white cube is neither meant for privacy nor pleasure, really. That much is clear. And our bodies do know. Blood shot cheeks – a common feature of guided tours, Q&A sessions,...

29.05.2015 – Rahel Blättler

Albert Oehlen. Abräumung 1987 - Pressetext & Flyer

Anlässlich der Ausstellung An Old Painting in Spirit von Albert Oehlen blicken wir auf die erste, von Wilfried Dickhoff kuratierten Ausstellung des Künstlers in der Kunsthalle Zürich 1987 zurück.

Für eine Serie von Blogs haben wir in unserem Archiv gestöbert!

23.05.2015 – Rahel Blättler

Am Damm - Booklaunch 12.05.2015

http://kunsthallezurich.ch/de/booklaunch

18.05.2015 – Guest Blogger

Pick a Nose

Excerpt from the script to episode 2 of Bottom Feeders - The Battle of the Cataplasm by Flavio Merlo and Ben Rosenthal

- Take a look at these hands! the hand speaks. The hand of a government man. born under punches.
- What a splendid member…
- You must be joking.
- I got these small hands. I got a little girl's hands.
- Small enough to pick your nose thoroughly.
- Yes, I can go all the way. Just look, look, this booger is endless.
- It just doesnt’ stop. I usually just use my little finger, because I don’t want my nostrils to...

11.05.2015 – Guest Blogger

Hannah Weiner (1928–1997). Public Access Poetry, Clairvoyant Journal versions, the rescue blanket, SILENT HISTORY etc.

Blog 3 of 3 by curator Franziska Glozer

Public Access Poetry (PAP)

The situation of the voices, and the interruption and overlay, is quite clear if you hear the tapenade by New Wilderness Audiographics wherein Sharon Mattlin is a wonderful CAPITALS and bosses me around endlessly. (…) Peggy (De Coursey) and Regina (Beck) both sound as if they were scolding me. We worked it so that the voices came fast after each other, occasionally speaking unison and overlapping, and occasionally one of us would ad-lib comment. (from Mostly about the...

07.05.2015 – Rahel Blättler

Filme von Masoud Kimiai, Bijan Mofid und Ali Hatami

Neben den Animationsfilmen von Noureddin Zarrinkelk integrierten Ramin Haerizadeh, Rokni Haerizadeh und Hesam Rahmanian auch Sequenzen aus iranischen Spielfilmen in die Ausstellung. Im Eingangsbereich oberhalb der Kasse ist in der Ecke ein kleiner Fernseher angebracht, auf dem die Anfangssequenz von Masoud Kimiais Qeysar, Ali Hatamis Hassan Kachal und Ausschnitte des Theaterstücks ...

06.05.2015 – Guest Blogger

Hannah Weiner (1928–1997). «I am clairvoyant», Colors, Auras, Fashion, and New Music

Post 2 of 3 by curator Franziska Glozer

«I am clairvoyant»

«I SEE WORDS» – In 1970 Hannah Weiner started to envision auras and fields of energy. In 1972 she also started to perceive words, floating in the air, or perched on her forehead (as seen from the inside), in her surroundings, on walls, on paper, on a dog’s fur coat. In these years she reinvented herself and the meaning of her poetry: I am a clairvoyant. Repeatedly Weiner declared: I SEE WORDS and I am a clairvoyant, celebrating the achievement and artistic method of her self-...

04.05.2015 – Rahel Blättler

Animationsfilme von Noureddin Zarrinkelk

Ein wichtiger Bestandteil der künstlerischen Praxis von Ramin Haerizadeh, Rokni Haerizadeh und Hesam Rahmanian ist der Einbezug von Werken Dritter, denen sie hohen Respekt zollen und/oder die sie schamlos aneignen und adaptierten. Nichts und niemand wird verschont, auch nicht die eigene, iranische Kultur. Befasst man sich jedoch eingehend mit ihren Arbeiten, ihrem Denken und ihren Interessen lernt man viel darüber, wie Filmemacher/innen, Cartoonist/innen und Künstler/innen wie Ardeshir Mohasses, Bahman Mohasses, Ali Hatami, Mahmoud Khan Saba oder Noureddin Zarrinkelk die persische Kultur...

30.04.2015 – Guest Blogger

Terayama Shuji. First Period (1967–1969)

Michael Zimmermann on Theater der Überforderung

Around 1967 when Terayama’s underground theater troupe “Tenjô Sajiki” was formed, economic high-growth-era Japan saw the resurgence of a nationwide protest movement. Groups protesting Japan’s complicit role in the Vietnam War linked up with workers, environmentalists, and radical students. The following years saw a mass of demonstrations – peaceful and violent –, occupations of public squares, train stations and universities (at one point approx. 80% of universities were completely or partly barricaded) and bloody...

28.04.2015 – Guest Blogger

Hannah Weiner (1928–1997). Code Poems, Street Works / Poetry Events, 0 to 9

Post 1 of 3 by curator Franziska Glozer

Context

In the 1960s many artists felt the call to appropriate the world, draft new visions for the future and engage directly with a society that was saddled by crises. Existing structures were antiquated and the art scene sought renewal through such movements as Minimal Art, Concept Art, Land Art and Performance Art. These new genres were largely related between two poles: Imagination (the abstract idea) and experience (the interaction with a public foreign to art). Still in their conceptual beginnings, p...