Symposium: The Art Review: Most Wanted, Most Neglected

06.05.2017, 13:00-19:00
Symposium: The Art Review: Most Wanted, Most Neglected
Eintritt frei
Englisch
Week

Förderer

Das Symposium widmet sich der Krise der Art Review, also der Ausstellungsbesprechung. Sie ist das Stiefkind der Branche, alle fordern mehr, nichts wird so vernachlässigt. Das Symposium diskutiert den Stand der Dinge mit Referaten (in Englisch) und Podiumsgesprächen (in englischer und deutscher Sprache). Eintritt frei.

Organisiert von Kunsthalle Zürich in Zusammenarbeit mit Pro Helvetia und Office for Contemporary Art Norway, im Dialog mit Critical Writing Ensembles

Ort: schwarzescafé LUMA / Westbau, Limmatstrasse 270, 1. Stock

Aktueller Ablauf:

13:00 Begrüssung von Daniel Baumann (Direktor und Kurator Kunsthalle Zürich)

13:30 Einführung von Marianne Burki (Leiterin Visuelle Künste Pro Helvetia, Zürich), Diana Campbell Betancourt (Chefkuratorin Dhaka Art Summit, Dhaka) und Katya García-Antón (Direktorin Office for Contemporary Art Norway, Oslo)

14:00 Einführungsvortrag von Mike Sperlinger (Professor of Writing and Theory, Academy of Fine Art, KHiO, Oslo)

14:45 Kaffeepause

15:00 Vortrag von Belinder Dhanoa (Autorin und Künstlerin, Delhi)

15:45 Vortrag von Mustafa Zaman (Künstler und Autor, Dhaka)

16:30 Kaffeepause

16:45 Vortrag Ellinor Landmann (Kulturredakteurin beim Schweizer Radio und Fernsehen, Basel)

17:30 Podiums- und Publikumsdiskussion mit Crritic! (Daniel Morgenthaler, Aoife Rosenmeyer; beide Zürich) und Brand-New-Life (Lucie Kolb, Judith Welter; beide Zürich), moderiert von Julia Moritz (Kuratorin, Zürich/Berlin)

18:30 Apero/Launch PROVENCE Magazin (Tobias Kaspar, Künstler, Riga)

Critical writing ist eine Initiative, die Pro Helvetia im Jahr 2013 mit einer Workshop-Reihe mit verschiedenen Autorinnen und Autoren in der Schweiz ins Leben rief. Ein Strang dieser Initiative entwickelte sich zu Critical Writing Ensembles, kuratiert vom Office for Contemporary Art Norway und bislang mit einem Schwerpunkt auf Südasien, dessen Erweiterung geplant ist. Ein anderer Strang entwickelte sich zu Crritic!, ein Projekt das während der letzten Jahre durch die Schweiz tourte. Ausgehend von diesen Ereignissen und im Rahmen der aktuellen Ausstellung Speak, Lokal (noch bis 7. Mai), lädt die Kunsthalle Zürich am Samstag, den 6. Mai 2017, zu einem Tag mit Präsentationen und Diskussionen zur gegenwärtigen Kunstkritik – betrachtet durch die Linse der Rezension.

Die Gruppenausstellung in der Kunsthalle Zürich interessiert sich dafür, wie Künstlerinnen und Künstler an verschiedenen Orten der Welt lokale Gegebenheiten untersuchen und thematisieren. Das hoch umstrittene Gebiet des Lokalen wird scheinbar paradoxerweise als Ort der Autonomie und der Befreiung wahrgenommen. Gleichzeitig grenzt es – hier ist Genauigkeit gefragt – an Nationalismus, Provinzialismus und Kommerz. Es ist eine Sehnsuchtsformel, eine machtvolle Fiktion.

Das Symposium findet am letzten Wochenende der Ausstellung statt; ein Moment des Rückblicks. Passend dazu widmet sich die Veranstaltung dem kunstkritischen Genre der Rezension, besonders seinen Möglichkeiten – gleich dem Lokalen – Unabhängigkeit und Scharfsinn, aber auch Kurzsichtigkeit und Kapital zu befördern. In einem immer härter werdenden Markt der Medien wird die Rezension als verschwindendes Format des Kulturjournalismus beklagt. Dabei ist es vor allem durch das Brennglas der Rezension – als konkretes Angebot und Nachfrage innerhalb einer Öffentlichkeit(s-arbeit) sowie als dezidiert kritischer Akt der Reflexion – dass weitreichende Fragen der zeitgenössischen Kunstkritik gestellt werden können und müssen:

Wie ist heute über Kunst zu sprechen? Wie über das hier und jetzt zu schreiben? Wie dabei zugleich rück- und seitwärts schauen? Und wie wäre die Review von Morgen vorzustellen und vorzubereiten – zwangsläufige eine institutionelle Verantwortung der Zukunft?

“Niemals habe ich jemanden getroffen, der gesagt hat: wenn ich gross bin will ich Kritiker werden.“ – sagt der Satiriker Richard Pryor, frei zitiert in der Ankündigung zu Criticism Now, der finalen Ausgabe des Magazinprojekts PROVENCE, das auf diesem Symposium Schweizpremiere haben wird. Könnte man auch über Kuratoren sagen – meinen wir und luden zwei Professoren des Schreibens ein: Mike Sperlinger (Academy of Fine Art, KHiO, Oslo), der sich mit der Verunklärung der Grenzen von Kunstwerk und kritischem Kommentar befasst und in seinem Einführungsvortrag Begriff und Praxis der Rezension aus historischer Perspektive vorstellt; sowie Belinder Dhanoa (Ambedkar University Delhi), deren Vortrag aus ihren reichhaltigen Erfahrungen und Einblicken in die Verzweigungen des Machens von und Schreibens über Kunst schöpft.

Auch Mustafa Zamans Kunstschaffen, das mit einer Ausbildung zum Drucker begann, ist eng mit dem Kunstjournalismus verknüpft. Auf seinen Bericht über die feinen Unterschiede in Bangladesh dürfen wir gespannt sein. Und dann verlassen wir die in der kunstkritischen Diskussion gebräuchlichen Grenzen des geschriebenen und gedruckten Wortes: zuerst gibt Radioredakteurin Ellinor Landmann Aufschluss über die besonderen Möglichkeiten der Hörfunkrezension; anschliessend erörtern Lucie Kolb und Judith Welter die brandneuen Herausforderungen des digitalen Ausstellungsbesprechens (siehe brand-new-life.org) – eine Herausforderung der Qualität ansich? 

Zündstoff für unsere abschliessende Podiumsdiskussion! Eröffnet wird sie von Daniel Morgenthaler und Aoife Rosenmeyer, die sich mit der Workshop-Reihe Crritic! der Herausforderung eines stärkeren Austauschs zwischen Kunstkritiker/innen und Leser/innen stellen. Wir übergeben also das Wort an die hoffentlich grosse Runde, an Sie!

 

Daniel Baumann is the Director and Curator of Kunsthalle Zürich. His current exhibition Speak, Lokal provides the framework for this symposium and will be on view for the second to last day during the event. www.kunsthallezurich.ch

Brand-New-Life was founded in 2015 by Lucie Kolb, Pablo Müller, Barbara Preisig and Judith Welter in Zurich. Brand-New-Life is an online magazine for new perspectives in art criticism and onto current art activities and their imbrication into political and social contexts. Lucie Kolb is an artist and writer, Judith Welter is the Director Kunsthaus Glarus, both are co-editors of the magazine. They live and work in Zurich, Glarus and Vienna. The concluding discussion of this symposium will feature their presentation of brand new possibilities in online art reviews. www.brand-new-life.org

Crritic! was a series of events about art criticism in Switzerland. It sought to generate encounters between authors and readers of Switzerland’s various regions about the current states of writing about art in order to establish an affluent and active community in the field. Crritic! has been developed in collaboration with the national arts foundation Pro Helvetia, supported by the Association internationale des critiques d’art: Section suisse (AICA), and is run by Daniel Morgenthaler and Aoife Rosenmeyer. Daniel Morgenthaler is the Curator of Helmhaus Zurich and the author of numerous articles for exhibition catalogues and magazines, such as Züritipp, Kunst-Bulletin, Du and Apartamento. Aoife Rosenmeyer is an independent curator, translator and critic, a.o. for Art Monthly, Art Review, Art Agenda, Art in America, Frieze and Kaleidoscope. Both live and work in Zurich. For the contributors of this symposium they prepared and moderated a workshop which will be summarized for the symposium’s audience during the concluding discussion of the event. www.crritic.ch

The Dhaka Art Summit is an international non-commercial research and exhibition platform for art and architecture related to South Asia. It seeks to re-examine how we think about these art forms in a regional and wider context, with a focus on Bangladesh. Led by Chief Curator, Diana Campbell Betancourt, local and international guest curators unlock new areas of inquiry through collaborative group exhibitions, experimental writing initiatives, film and talks schedules. Founded in 2012 by the Samdani Art Foundation in collaboration with the Ministry of Cultural Affairs, People’s Republic of Bangladesh the Summit’s interdisciplinary programme is hosted every two years at the Bangladesh Shilpakala Academy. Free for all and ticketless, the fourth edition of the Dhaka Art Summit, will be held from the 2 to 10 February 2018. A co-convener to this symposium, Diana Campbell Betancourt co-edited (with Katya García-Antón and Antonio Cataldo) the Dhaka Art Summit 2016 and Critical Writing Ensembles, a two-volume set of books co-published by Mousse Publishing, the Samdani Art Foundation, the Office for Contemporary Art Norway and Pro Helvetia, and with contributions by Belinder Dhanoa, Mike Sperlinger and Mustafa Zaman, among others. She is also on the editorial board of The Exhibitionist. www.dhakaartsummit.org

Belinder Dhanoa is a writer and artist. She holds an MFA in Art Criticism from the Faculty of Fine Arts, MSU, Baroda, and another MA in Visual and Cultural Studies from the University of Rochester in New York. She has written books for children published by the National Book Trust, her novel Waiting for Winter was published by Penguin India, and she has also researched, documented and published Contemporary Art in Baroda, as well as The Body in Indian Art, a book which accompanied the exhibition of the same name in Brussels, and now at the National Museum, Delhi. Dhanoa also currently teaches Creative Writing at the School of Culture and Creative Expression at the Ambedkar University, Delhi. She lived and worked in the US and UK for twenty years, and returned to India three years ago. In Zurich, she will share her rich and diverse insight into the intersections of art and writing in a lecture to this symposium.

Ellinor Landmann is editor for culture at the Swiss Radio and Television (SRF) who lives and works in Basel. She studied German language and literature, art history, and theatre studies in Bern. After early journalism for various local newspapers she started working as an art critic for the Swiss Radio (DRS) in 2002. Since 2004 she has been an editor at DRS 2 with a focus on theatre, since 2013 her focus is visual artst. Landmann’s lecture for this symposium will expand the usual limitation of discussions on art criticism to printed matter towards the particular possibilities of radio reviews. 

Julia Moritz is an art historian and curator with a focus on experimental public programming and education, which she has organized for Kunsthalle Zurich during the last three years, including this symposium. 

The Office for Contemporary Art Norway (OCA) is a non-profit foundation created by the Norwegian Ministries of Culture and of Foreign Affairs in 2001 aiming to foster dialogue between art practitioners in Norway and the international arts scene, and support Norwegian artists in their activities around the world. As a result OCA’s discursive, exhibition, publication, residency and visitor programs focus on bringing to Norway the plurality of practices and histories, as much as they are concerned with actively participating in artistic debates nationally and internationally. Since early 2014, art historian and curator Katya García-Antón is the Director of OCA. With previous engagements at The Courtauld Institute of Art, BBC World Service (Latin American Broadcasts), Museo Nacional Reina Sofía Madrid, ICA London, IKON Birmingham and as Director of Centre d’Art Contemporain (CAC) Genève, she is responsible for more than 70 exhibitions of art, architecture and design of practitioners worldwide. In Switzerland, she conceived the foundational concept for the current two-year program on critical writing for Pro Helvetia, and acts as a co-convener of this symposium. www.oca.no

Pro Helvetia is a public-law foundation which promotes Swiss arts and culture with a focus on diversity and high quality. As the Swiss Confederation’s cultural promotion institution, it supports projects of national interest. Its Visual Arts department is committed to raising international awareness of contemporary art made in Switzerland supporting exhibitions, events and publications in the fields of art (including photography and media art), architecture and design. In cooperation with foreign cultural institutions – as has been the case for this symposium as well as Pro Helvetia’s previous engagement in critical arts writing – it facilitates exchange between Swiss art practitioners and colleagues from around the globe. The collaboration with Dhaka Art Summit e.g. was initiated by Chandrika Grover Ralleigh, Head of Pro Helvetia New Delhi. Since late 2005, art historian, filmmaker and cultural manager Marianne Burki is Head of Visual Arts at Pro Helvetia. A frequent author in the field of contemporary art herself, Burki initiated and, assisted by Patrick Gosatti, co-organized this symposium. www.prohelvetia.ch

PROVENCE, founded in 2009, is a multi-faced editorial project based in Nice, France. The last title Issue C – Criticism Now of PROVENCE’s eight-issue cycle has been launched n Vienna earlier this month. This issue is described as “an A–Z compendium on contemporary art criticism championing in its own way the format of monumental coffee table books with titles such as Painting Now, Sculpture Now, Vitamin P or the like, filling the gap of the not yet published large scale photo book dedicated to the art-critic.” Get your copy at the Swiss launch convivially concluding this symposium. PROVENCE Issue C has been compiled by Tobias Kaspar and Hannes Loichinger. Institutions such as Kunsthalle Zürich, The Artists Institute, Artists Space, Kunstverein Düsseldorf, Kunsthaus Glarus and others have presented and exhibited PROVENCE. Tobias Kaspar is as an artist based in Riga. Hannes Loichinger is a PhD candidate at Leuphana University Lüneburg, based in Hamburg and Vienna. www.provence.st

Writer and curator Mike Sperlinger is currently Professor of Writing and Theory at the Academy of Fine Art, KHiO, Oslo. He studied English Literature and Aesthetics & Art Theory, and in 2006-07 was a Curatorial Fellow at the Whitney Independent Study Program in New York. His main field of interest is writing and publishing by visual artists, and in particular those textual practices which have undermined the distinction between artwork and critical commentary. He has himself written for many journals and exhibition catalogues, including Afterall, Art Monthly, Dot Dot Dot, Frieze, Radical Philosophy and Texte zur Kunst, and is the editor of several books, including Here is Information. Mobilise – Selected writings by Ian White (2016). He is currently editing an anthology of the 1970s artists' journal TRACKS. He has also worked extensively as an editor, including issues of Will Holder’s eclectic journal of writing and art FR David; and, together with the artist Christian Flamm, a critically-acclaimed fanzine (Foxtrot Echo Lima Tango, 2010) about the 1980s British band Felt. In 2002 he co-founded the moving image agency LUX where he was assistant director for more than a decade. You Might Also Like is the preliminary title of Sperlinger’s keynote lecture to this symposium which will try to imagine alternative trajectories for the art review, beyond the rhetorics of crisis, in relation to other fields like film and literature.

Trained as a printmaker in Dhaka, Mustafa Zaman soon veered into multidisciplinary and multimedia conceptual art, turning his attention to the contemporary human condition which he often observes in relation to the instruments of power: the medicalization of the body and the established grids of knowledge manifest in modernity’s art- and life-making. In the late 1990s Zaman started contributing art reviews to Observer Magazine, then joined The Daily Star in 2002, and worked in the scope of a feature writer for Star Weekend Magazine for three years writing on a gamut of subject matters including art, literature and politics. He has contributed numerous art reviews and articles on major Bangladeshi artists to a number of vernacular Dailies including Bhorer Kakoj and Prothom Alo. Mustafa is now editor of Depart, a magazine launched in 2010 and is focused on contemporary art from South Asia with special emphasis on the emerging art scene of Bangladesh. He has also written numerous prefaces to exhibition catalogs of major Bangladeshi artists and curated workshops and exhibitions, such as DeReal by Bahram (2013), a rickshaw painter who crossed over to mainstream art. Hence, highly fluent in “speaking local” Zaman’s presentation at this symposium steers towards translations for “the global”.