What sounds quite abstract here will be grounded and become tangible by her distinguished curatorial experience and concrete examples. Individually or in teams, participants will develop exhibition concepts, going through the steps of discussion, research, proposal and implementation. They will not necessarily end up with an actual exhibition, but learn about “thinking with works of art”.
Ruth Noack on transnational art production:
Lukas Pusch founded the White Cube Gallery Novosibirsk with Konstantin Skotnikov in a ramshackle garage in 2008, the first center for contemporary art in Siberia. One year later, they assembled the gallery on the platform of a ZIL-130 truck and organized touring exhibitions along the Russian-Mongolian border. In 2012 the exhibition space was shown in front the main entrance of ART Cologne.
Though Lukas Pusch insists he is not making politics but art, his projects as well as his extraordinary woodcuts and prints can hardly be not regarded as political. His works are satirical, direct and extremely independent. It's their unpredictability, that makes them subversive. Read more on the project Slum TV, Pusch initiated together with lokals and artist friends in Mathare, Nairobi in Die Zeit.
However his priority in art is image-finding and artistic autonomy. Pusch's outstanding technical skills allow him to teach the basic craft as well as to show the many possibilities of printmaking.
Some images you find here. Have a look at "der antist" too. It is a magazin he publishes with artist TOMAK.
Melissa Gordon’s approach to painting is intellectual and experimental, and it has bodily and performative aspects too. Her painting course will examine the role of gesture in abstract painting; although it has always been regarded as the direct expression of a creative force, today it can be explored in its historical significance as a rhetorical figure and restaged anew. The students will use everything they come across, home-made tools, found objects, silkscreens, their bodies and paint to make gestures, in space as well as on painting.
(Foto taken at Melissa Gordon's course, Summer Academy in 2016)
In her own work the London-based american artist implements her particular cache of gestures - enlarging hidden details, zooming in on patterns of reproduction, and distorting information with abstraction - to reconfigure histories, surfaces, and iconographies through a feminist lens. She takes a humorous and insightful stance vis-à-vis modernist art history.
Installation view „Painting behind itself“ Cosar HMT, Düsseldorf
Have a look at more intallation views of her exhibition in Düsseldorf too.
Below you find a documentation of the talk she gave at the summeracademy last year.
It is difficult to label Tex Rubinowitz. This is not due to the diversity of his occupations – he has a reputation as cartoonist, writer (winner of the Bachmann-Preis 2014), musician (Die Mäuse), and painter – but more because he doesn’t want to fit into the different roles for artists like into a perfectly fitting suit. His works rather obtain their energetic and erratic pulse from sudden turns and odd combinations.
This great introduction is some years old now, but still worth seeing, have a look!
If you like to sharpen your curatorial ideas, or if you like to become a curator and don’t know where to begin with, attend Diana Campbell Betancourt’s course „Institution-building as curatorial practice“. The american curator based in Manila and Dhaka will share her experiences in how to implement ideas and institutional structures, in contexts where they were rare before. Diana Campbell Betancourt has an excellent global network, among many other activities and positions she is the artistic director of the Samdani Art Foundation in Dhaka and chief curator of the Dhaka Art Summit, which she has developed into the world’s leading research and exhibition platform for art from South Asia. 2016 she was nominated for the ICI Independent Vision Curatorial Award.
Here she reviews the Kochi-Muziris Biennale 2014
And there you find another interview with her.
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