Albertina 2020

ALBERTINA
Wilhelm Leibl – Gut sehen ist alles!
Eröffnung: ab 31. JÄNNER 2020
Ausstellung: 31. Jänner – 10. Mai 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/wilhelm-leibl/

Wilhelm Leibl Das Mädchen mit der Nelke 1880/81
Öl auf Mahagoniholz 15,7 × 11,8 cm
Staatliche Kunsthalle Karlsruhe Sammlung

Gefördert von Courbet, beeinflusst von Manet und geschätzt von van Gogh, gehört Wilhelm Leibl zu den wichtigsten Vertretern des Realismus in Europa. Im Mittelpunkt seines Werks steht die ungeschönte Darstellung des Menschen.


ALBERTINA
Die frühe Radierung. Von Dürer bis Bruegel
Eröffnung: ab 12. FEBRUAR 2020
Ausstellung: 12. Februar – 10. Mai 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/die-fruehe-radierung-von-duerer-bis-bruegel/

Albrecht Altdorfer Fichte ca. 1517 -1520, 15,9 x 11,7 Albertina

Das Aufkommen der Radierung im späten 15. Jahrhundert und ihre schnelle Verbreitung im frühen 16. Jahrhundert stellen einen der wichtigsten Wendepunkte in der Frühzeit der Druckgrafik dar. Die Ausstellung in der ALBERTINA widmet sich den ersten 70 Jahren der Radierung. Rund 125 Radierungen sind neben Zeichnungen, Druckplatten und illustrierten Büchern in der Schau zu sehen.

ALBERTINA
Van Gogh, Cézanne, Matisse, Hodler.
Die Sammlung Hahnloser
Eröffnung: AB 22. FEBRUAR 2020
Ausstellung: 22. Februar – 24. Mai 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/…/van-gogh-cezanne-matisse-hodler…/

Die ALBERTINA widmet ihre Frühjahrsausstellung einer der bedeutendsten Privatsammlungen der französischen Moderne. Sammeln war für Arthur und Hedy Hahnloser eine sinnstiftende Lebensaufgabe. Ihre Kollektion, die sie in der Villa Flora in Winterthur als Gesamtkunstwerk inszenierten, verstanden sie als „Lehrmuseum“. Mit rund 120 Werken präsentiert die Ausstellung einen Überblick dieser international einzigartigen Sammlung.


ALBERTINA
Michael Horowitz
Eröffnung: AB 28. FEBRUAR 2020
Ausstellung: 28. Februar bis 13. April 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/michael-horowitz/

Der Wiener Journalist, Verleger und Autor Michael Horowitz fertigte zahlreiche Reportagen und Porträts bekannter Persönlichkeiten aus dem öffentlichen Leben an. Der Schwerpunkt der Ausstellung liegt dabei auf Fotografien aus dem Wiener Kulturleben, zu dessen Protagonisten Horowitz in enger Beziehung stand.

ALBERTINA
Xenia Hausner. True Lies
Eröffnung: AB 6. MAI 2020
Ausstellung: 6. Mai – 6. September 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellu…/xenia-hausner-true-lies/

Die ALBERTINA zeigt eine der wichtigsten österreichischen Malerinnen unserer Zeit. Die Ausstellung ist retrospektiv angelegt, beginnend mit den ersten frühen Arbeiten aus den 1990er-Jahren bis zu Xenia Hausners jüngster bewegender Exiles-Serie.

ALBERTINA
Michela Ghisetti. Ich gehe nach Hause
Eröffnung: AB 28. MAI 2020
Ausstellung: 23. Mai – 13. September 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/michela-ghisetti-ich-gehe-nach-hause/

Michela Ghisetti. AFUA 2012 farbstift auf Holz Albertina

Die ALBERTINA widmet Michela Ghisetti als erstes Museum eine umfassende Retrospektive. Das Werk der Künstlerin bewegt sich zwischen den Polen Abstraktion und Figuration. In Michela Ghisettis Arbeiten fließen biografisch-emotionale und philosophisch-kunsttheoretische Elemente ineinander.

ALBERTINA
Francesco Clemente. Self-Portraits and Sirens
Eröffnung: AB 4. JUNI 2020
Ausstellung: 4. Juni- 4. Oktober 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/…/francesco-clemente-self-portrai…/

Die ALBERTINA widmet dem italienisch-US-amerikanischen Künstler Francesco Clemente eine umfassende Personale. Anlass ist die Übernahme der Sammlung Jablonka, die viele bedeutende Werke des Künstlers beinhaltet.

Die Schau konzentriert sich auf Clementes Selbstbetrachtungen und, damit in engem Zusammenhang, auf sein Reisen sowie Arbeiten an den verschiedensten Orten der Welt. Eindrücke und Erlebnisse, Geschichten und Mythen werden nicht nur in seinem Schaffen sichtbar, sondern prägen auch ihn selbst und machen ihn letztlich als Person in all ihren unterschiedlichen Facetten aus. Neben Werken aus der Sammlung Jablonka sind einige weitere Schlüsselwerke aus der Sammlung der ALBERTINA zu sehen, sowie die Sirens, eine Serie an Ölgemälden, die erst kürzlich entstanden ist.

ALBERTINA
American Photography
Eröffnung: AB 10. JUNI 2020
FotografInnen:
Diane Arbus | Philip-Lorca diCorcia | William Eggleston | Lee Friedlander | Nan Goldin | Ray K. Metzker | Lisette Model | Cindy Sherman | Stephen Shore | Joel Sternfeld | Garry Winogrand.
Ausstellung: 10. Juni – 23. August 2020
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/american-photography/

ALBERTINA
Modigliani – Picasso. Revolution des Primitivismus
Eröffnung: AB 18. SEPTEMBER 2020
Kurator der Ausstellung: Marc Restellini
Ausstellung: 18. September 2020 – 10. Januar 2021
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/ausstellungen/modigliani-picasso/

Die ALBERTINA würdigt Amedeo Modigliani anlässlich der hundertsten Wiederkehr seines Todestages mit einer großen Retrospektive. Man kennt Modigliani als von Alkohol- und Drogenexzessen bestimmten Bohèmien, gefälligen Porträtisten oder Wegbereiter des Art Déco.

Die Ausstellung zeigt ihn erstmals als einen führenden Avantgardisten, der die Revolution des Primitivismus bis weit ins 20. Jahrhundert hinein trug. Modigliani wird in Österreich zum ersten Mal gezeigt, darunter seine berühmten Akte und außergewöhnlichen Porträts sowie einige seiner wenigen erhaltenen Skulpturen. Die Ausstellung bringt Werke aus den größten Museen und bedeutendsten Privatsammlungen von Amerika bis Asien zusammen.

Besonderes Augenmerk wird auf die lebenslange Auseinandersetzung mit der Kunst des Primitivismus gelegt. Dem Œuvre Modiglianis werden Werke von Pablo Picasso, Constantin Brâncuşi und André Derain sowie Artefakte sogenannter „primitiver“ – prähistorischer, archaischer oder außereuropäischer – Kulturen gegenübergestellt.

ALBERTINA
Faces. Die Macht des Gesichts
Eröffnung: AB 23. OKTOBER 2020
Ausstellung: 23. Oktober 2020 – 7. Februar 2021
Albertinaplatz 1, 1010 Vienna, Austria
https://www.albertina.at/auss…/faces-die-macht-des-gesichts/

Ausgehend von Helmar Lerskis herausragender Fotoserie “Metamorphose – Verwandlungen durch Licht“ (1935/36) präsentiert die Ausstellung „Faces” Porträts aus der Zeit der Weimarer Republik.

In den 1920er- und 30er-Jahren erneuern Fotografinnen und Fotografen radikal das Verständnis des klassischen Porträts: Ihre Aufnahmen dienen nicht mehr der Darstellung der Persönlichkeit eines Menschen, sondern sie fassen das Gesicht als nach ihren Vorstellungen inszenierbares Material auf. Über das fotografierte Gesicht werden sowohl ästhetische Überlegungen der Avantgarde als auch gesellschaftliche Entwicklungen der Zwischenkriegszeit verhandelt. Modernistische Experimente, das Verhältnis zwischen Individuum und Typ, feministische Rollenspiele und politische Ideologien kollidieren und erweitern damit das Verständnis der Porträtfotografie.

estherartnewsletter_logo_georgia

Katherina Olschbaur_Dirty Elements

CAC Gallery | Contemporary Arts Center
Katherina Olschbaur: Dirty Elements

Opening Reception: Saturday, 11. January 2020 | 2–5pm
Curated by Allyson Unzicker
Visiting Artist Lecture Series: Katherina Olschbaur
Thursday, 23. January 2020 | 6:30pm
Exhibitio: 11. January –14. March 2020
University Art Gallery | 712 Arts Plaza |
Irvine, CA | Bldg 721
Room Gallery | Art Culture and Technology | Bldg 727
https://uag.arts.uci.edu/exhibit/katherina-olschbaur-dirty-elements
https://www.facebook.com/events/767123883765252/

The law is not patriarchal because it denies the existence, even the power, of women…The law is patriarchal because it denies the bodies, sexualities of women. In patriarchy, there is no menstrual blood.
–Kathy Acker

Katherina Olschbaur -Dirty Elements
11. January –14. March 2020

The University Art Gallery is pleased to present a series of new paintings by Austrian-born, Los Angeles based artist Katherina Olschbaur in Dirty Elements, her first solo institutional exhibition in the U.S.

Dirty Elements, 2019, Oil on Linen, Diptych 78 3/4 x 157 1/2 in.

Olschbaur provides a female perspective to a history of canonized male painters, whose work simultaneously inspires her. Although traces of matriarchal order in Western thought typically appear as a mythological apparition, Olschbaur paints a narrative that subverts our expectations under the normative language of patriarchy. For Olschbaur, art historical tropes are appropriated and used like garments, worn then cast aside in a process that is ever changing and moving within each work. In this way, Dirty Elements investigates the power dynamics of patriarchal order and its violent denial of female sexuality. Referencing a wide spectrum of thought, Olschbaur’s practice takes root in mythology, religious and historical paintings, the subcultures of S/M, and film. Embracing Georges Bataille’s concept of the formless, the paintings explore the dirty elements of our carnal horizontality. In so doing, they feature provocative and erotically charged scenes that are at times humorous and disturbing.

Olschbaur’s practice involves a process of fervently sketching out these scenes before painting them. Working in a wet-on-wet process, she paints on a malleable surface that is in a constant state of disruption, where scenes formulate out of an amalgam of autobiographical, historical and imaginary narratives. In this layered process, her paintings elicit the expressive freedom to create order that only leads to disorder. By creating angular compositions, tension builds within the narratives by disallowing any singular perspective. This dense and meditative space is reflected by focusing on representations of the body as a site of repressed desire. Placing gender constructs into question, figures are seen bound, trampled or falling into animated plasticity. The backdrops are dark and ominous landscapes formed through a mirage of artificial colors, while the foregrounds are pregnant with smooth glossy bodies that sometimes transpose into animals. Without relying on meaning alone, the works contemplate a space between seduction and malaise, moving beyond the silent surface of the canvas.

2018_GreenLegs oil on canvas 460_460

Katherina Olschbaur b.1983, Austria
lives and works in Los Angeles
has been the subject of solo exhibitions at Gnyp Gallery, Berlin (2019), Nicodim Gallery, Los Angeles (2018),
OOF Books, Los Angeles (2018), PØST, Los Angeles (2018), Galerie Werkstadt Graz (2016), Museum Spoerri, Austria (2011), MUSA Vienna (2011). Recent group exhibitions include Paul Kasmin Gallery, New York, Nicodim Gallery,
Los Angeles and Bucharest, Christine König Galerie Vienna, PG Art Gallery, Istanbul, Museum Gironcoli, Austria, Salzburger Kunstverein, Kunsthalle Krems,
and at Symbiosis – XI Biennale de la Mediterranée, Thessaloniki. Awards and residencies include IBK Painting Prize (2018), Red Gate Residency, Beijing (2017), Theodor Körner Prize (2009).

http://katherinaolschbaur.com/

Kunsthaus Baselland 2020

Kunsthaus Baselland 2020
Marlene McCarty. Into the Weeds
Eröffnung: Donnerstag, 23. Januar 2020 | 18.30 Uhr
24.1.—19.4.2020
St. Jakob-Strasse 170
4132 Muttenz/Basel Schweiz
https://kunsthausbaselland.ch/ausstellungen/marlene-mccarty
 
One of the most comprehensive presentations in Switzerland to date of the New York-based artist Marlene McCarty (b.1957 in Lexington/KY, USA/CH), who studied in Basel from the late 1970s to the early 1980s. She was an early member of the AIDS activist collective Gran Fury, which gained international recognition through their appearance at the 1990 Venice Biennale and other interventions. The exhibition has been created in collaboration with Merian Gardens, an institution belonging to the Christoph Merian Foundation.


Christoph Oertli. Sensing Bodies
Eröffnung: Donnerstag, 23. Januar 2020 | 18.30 Uhr
24.1.—19.4.2020
St. Jakob-Strasse 170
4132 Muttenz/Basel Schweiz
https://kunsthausbaselland.ch/ausstellungen/christoph-oertli
 
A major retrospective exhibition of the video and sound works of Basel-based artist Christoph Oertli (b. 1962 in Winterthur), whose work reflects the connection between everyday life and existential questions in particular and focuses on people and their living environments. The exhibition is accompanied by a publication from the Binding Sélection d’Artistes.

Kunsthaus Baselland
Solo Position: Stefan Karrer
Eröffnung: Donnerstag, 23. Januar 2020, 18.30 Uhr
24.1.—19.4.2020
St. Jakob-Strasse 170
4132 Muttenz/Basel Schweiz
https://kunsthausbaselland.ch/ausstellungen/stefan-karrer
 
The first institutional solo exhibition of the Vienna-based artist
Stefan Karrer (b. 1981 in Basel), who explores internet platforms and digital material to examine the relationship between people and technology. The exhibition is accompanied by a sound performance as well as an artist book from Mark Pezinger Books. Solo Position is a competition format launched by kulturelles.bl.


Kunsthaus Baselland
Lena Eriksson
Annual Kunsthaus Baselland Exterior Project 2020
13 March – 31 December 2020
Opening and special event: Thursday 12 March, 6.30 pm
 
Lena Eriksson (b. 1971 in Visp, lives in Basel) finds her subjects in everyday life, which she deftly observes in her own unique way. She cultivates the art of friendly exchange and hospitality. Her main mediums are drawing, video, and performance. She led the art space Lodypop in Basel from 2004 to 2009 and has been working as a lecturer at the Lucerne University of Applied Sciences and Arts since 2014. 


Andrea Blum
8 May – 5 July 2020
Opening: Thursday 7 May, 6.30 pm
 
Andrea Blum (b. 1950 in New York) is a New York based artist whose work addresses the relationship of the social/political world to the private psychological one. Her approach is to zoom in and out of the conditions which organize us as a culture, thereby hoping to affect us as individuals.
She has designed projects in Europe and the United States that include urban space, parks, libraries, domestic space and furniture. This is her first solo show in Switzerland. 

Marina Rosenfeld
8 May – 5 July 2020
Opening: Thursday 7 May, 6.30 pm
 
The first major solo exhibition in Switzerland of the composer, sound artist, and visual artist Marina Rosenfeld (b. 1968, USA), who lives and works in New York. Rosenfeld’s works intervene in sites through the media of sculpture, sound, and drawing/notation. Her materials include the liminal registers of ambient noise, the voice and its reflections, and networks of amplification and distortion.

 
Thu Van Tran
8 May – 5 July 2020
Opening: Thursday 7 May, 6.30 pm
 
This is also the first major solo exhibition in Switzerland of the artist
Thu Van Tran (b. 1979, FR/Vietnam), who comes from Vietnam and lives in Paris. She is known for her precise and yet extremely poetic works that interweave questions of postcolonialism with those surrounding our ability to remember the histories of countries, materials, rituals, heritages, and so on.


Bachelor and Master, Institut Kunst der HGK FHNW Degree Show
24 — 30 August 2020
Opening: Sunday 23 August, 2 pm
 
Once again—and now for the fifth time—the Art Institute of the College of Art and Design FHNW is a welcome guest at Kunsthaus Baselland. A young generation of aspiring artists will be given an important platform here to present their graduation works to the public in a professional setting.


Afterglow
18 September – 15 November 2020
Opening: Thursday 17 September, 6.30 pm
 
With artists from Switzerland and abroad, the focus of the group exhibition is on expansive video installations that have used the medium in an innovative way from the 1970s onward and continue to have a high impact or resonance to this day. By video installations we mean works that significantly integrate the physical space as well as elements from the video narrative, and which are also able to physically involve visitors. The exhibition is curated by Ines Goldbach and Käthe Walser.

Regionale 21
29 November 2019 – 10 January 2020
Opening: Saturday 28 November
 
What began many years ago as a Christmas exhibition has now become one of the largest cross-border projects in the Basel, South Baden, and Alsace region. Eighteen institutions from the trinational area select regional artists from around 800 portfolios to present their artistic work.
 

TURANDOT karlsruhe

ZKM & STAATSTHEATER KARLSRUHE
TURANDOT

Opera in three acts | Oper in drei Akten
Music by Giacomo Puccini
Libretto von Giuseppe Adami & Renato Simoni
nach Carlo Gozzis Turandot
In italienischer Sprache mit deutschen & englischen Übertiteln
PREMIERE: Saturday, 25.January 2020 | 7 pm
Samstag, 25. Januar 2020 | 19 Uhr
Duration: Dauer: ca. 2h 45, 1 Pause
AES+F, 2019 TURANDOT
Opera set design & costumes
HD video installation (1, 3, and multi-channel versions)
Scene, video and costume designs AES+F
anschließend Premierenfeier
OPERN- & MEDIENKUNST-SYMPOSIUM
Samstag, 25.01.2020 | 18:30
Einführung: 19 – ca. 21:45 H
Hermann-Levi-Platz 1
76137 Karlsruhe, Germany
https://aesf.art/projects/princess-t/
http://www.staatstheater.karlsruhe.de/programm/info/3117/

A video still from TURANDOT project by AES+F (video set design for opera, videoinstallation)

MUSIKALISCHE LEITUNG Johannes Willig
REGIE Fabio Cherstich
VIDEO & AUSSTATTUNG AES+F
CHOR Ulrich Wagner
DRAMATURGIE Boris Kehrmann
THEATERPÄDAGOGIK Anna Müller
BADISCHE STAATSKAPELLE & BADISCHER STAATSOPERNCHOR & EXTRACHOR
Kooperation mit dem Teatro Massimo Palermo & Teatro Comunale Di Bologna
In Zusammenarbeit mit dem Lakhta Center St. Petersburg.
https://www.staatstheater.karlsruhe.de/programm/info/3040/

Turandot ist die letzte Oper von Giacomo Puccini. Das Libretto schrieben Giuseppe Adami und Renato Simoni nach dem gleichnamigen Theaterstück von Carlo Gozzi. Die Oper wurde erst nach Puccinis Tod von Franco Alfano nach den Skizzen und Aufzeichnungen Puccinis vollendet.

Zwei Machtmenschen liefern sich einen Geschlechterkampf von welthistorischem Format. Die kleinen Leute werden zwischen den Giganten zermahlen. Erinnerte sich der Frauenheld Puccini an Affären aus seinem Privatleben, als er seine letzte, härteste und modernste Oper aus einer heiteren Commedia dell’arte entwickelte? Seine Frau hatte 15 Jahre früher sein platonisch geliebtes Dienstmädchen in den Selbstmord getrieben. Schreckte der Komponist deswegen vor dem finalen Liebesduett der Monster Turandot und Kalaf zurück?

Das STAATSTHEATER KARLSRUHE bringt das Stück um Verführung und Macht zusammen mit vier internationalen Institutionen auf die Bühne. Das Konzept erarbeitet und realisiert der Mailänder Opern und Schauspielregisseur Fabio Cherstich gemeinsam mit der vierköpfigen Moskauer Künstlergruppe AES+F, die mit Turandot ihre erste Oper ausstattet. Das Kollektiv gehört zu den wichtigsten Stimmen der internationalen Gegenwartskunst. Die herausfordernde Perfektion seiner Videoarbeiten erregt auf Biennalen rund um den Globus Staunen und Debatten. Mit diesem Werk aus dem Kernrepertoire setzt das STAATSTHEATER seine Reihe Oper und Medienkunst fort. Fabio Cherstich gibt damit sein Karlsruher Regiedebüt.

SYMPOSIUM OPER UND MEDIENKUNST 2020

SYMPOSIUM OPER UND MEDIENKUNST 2020
https://www.facebook.com/events/295881657996261/
Geführter Ausstellungbesuch ZKM
FREITAG 24.1.2020 | 17 – 18 Uhr

19 – 21.30 Digital Freischütz
VR-Oper in vier Episoden
à 15 Minuten, STAATSTHEATER

SAMSTAG 25.1.2020 |
9.30 Kaffee & Anmeldung
10.00 Begrüßung & Input
Dr. Frank Mentrup Oberbürgermeister
Dr. Susanne Asche Leiterin Kulturamt
Nicole Braunger Operndirektorin
STAATSTHEATER
Peter Weibel CEO ZKM

10.45 Key Note
Kay Voges Intendant Schauspiel Dortmund

11.30 – 13 Panel I Cities of Media Arts –
Oper & Medienkunst in Deutschland
AES+F Medienkunstkollektiv
Manuel Braun Regisseur & Videokünstler
Fabio Cherstich Regisseur
Carl Hegemann Autor & Dramaturg
Stephan Mösch Publizist,
Musik- & Theaterwissenschaftler
Yuval Sharon Regisseur
Kay Voges Intendant
Schauspiel Dortmund

13 – 14 WORKING LUNCH im ZKM

14 – 15.30 Panel II in English
Far Beyond – Internationale Perspektiven
zu Oper & Medienkunst

14 – 14.45 Best Practice International
Präsentation der Teilnehmenden

14.45 – 15.30 Panel Talk
Cyberräuber VR-Experten, Berlin
Vertreter Ars Electronica Linz
Lilli Paasikivi Intendantin
Finnische Nationaloper, Helsinki
Olga Soloveva Direktorin
Digital Opera 2.0, St. Petersburg
Vertreter Theatre in the Digital Age,
European Theatre Convention (ETC)

Foto: Rosellina Garbo

15.30 – 16 Kaffeepause

16 – 17.30 Panel III
Kunst der Klänge – transmediale Ansätze im Zusammenspiel zwischen Komposition,
Aufführung und Rezeption im Musiktheater
des 21. Jahrhunderts

16 – 16.30 Listen to the music
Präsentation der Teilnehmenden & des Projekts
De-Linking Sounds

16.30 – 17.30 Panel Talk
Georg Haidu Komponist
Anno Mungen Musikwissenschaftler
Matteo Pasquinelli Professor für
Medienphilosophie HFG
Marlon Schumacher Komponist
Marc Sinan Komponist

17.30 Shuttle ZKM – STAATSTHEATER

18 H WORKING DINNER MITTLERES FOYER
STAATSTHEATER

18.30 Einführung Turandot

19 H Premiere Turandot
GROSSES HAUS STAATSTHEATER

SYMPOSIUM OPER & MEDIENKUNST ZKM & Staatstheater 

Am 25. Januar dreht sich alles um die Zukunft der Oper: Digitale Technologien umgeben uns tagtäglich. Sie eröffnen auch in der der Oper unzählige Möglichkeiten, dem Publikum ungewöhnliche Erlebnisse zu ermöglichen und diese Kunstform auf neue Weise näher zu bringen. Dadurch werden auch Menschen begeistert, die womöglich noch nie in einer Opernaufführung waren. Um einen Einblick in die Entwicklungen von Digitalität und Medien im Musiktheater zu gewinnen und der Frage nachzugehen, wie Oper im Jahr 2070 aussehen könnte, lädt das STAATSTHEATER zusammen mit dem Karlsruher ZKM Medienkünstler und Theatermacher zum SYMPOSIUM der Reihe OPER- UND MEDIENKUNST ein. Einen Tag lang diskutieren internationale Künstler*innen und Theaterschaffende im Medientheater des ZKM über die Verbindung von Oper und Medienkunst, über die Herausforderungen und Chancen der Digitalisierung für die Künste und eigenen Arbeitsweisen. Nach der Eröffnung durch einen Beitrag des renommierten Regisseurs und Intendanten Kay Voges werden in drei Panels Theorien und Praxisbeispiele aus unterschiedlichen nationalen und internationalen Perspektiven präsentiert und zukünftige Projekte vorgestellt.

Das SYMPOSIUM mündet in der Premiere der Oper Turandot. Das STAATSTHEATER KARLSRUHE bringt das Stück um Verführung und Macht zusammen mit vier internationalen Institutionen auf die Bühne. Das Konzept erarbeitet und realisiert der Mailänder Opern und Schauspielregisseur Fabio Cherstich gemeinsam mit der vierköpfigen Moskauer Künstlergruppe AES+F, die mit Turandot ihre erste Oper ausstattet. Das Kollektiv gehört zu den wichtigsten Stimmen der internationalen Gegenwartskunst. Die herausfordernde Perfektion seiner Videoarbeiten erregt auf Biennalen rund um den Globus Staunen und Debatten. Turandot stellt einen weiteren Beitrag in unserer Reihe OPER UND MEDIENKUNST dar und ist eine internationale Kooperation mit den Opernhäusern in Palermo und Bologna: Zwei Machtmenschen liefern sich einen Geschlechterkampf von welthistorischem Format. Die kleinen Leute werden zwischen den Giganten zermahlen. Erinnerte sich der Frauenheld Puccini an Affären aus seinem Privatleben, als er seine letzte, härteste und modernste Oper aus einer heiteren Commedia dell’arte entwickelte? Seine Frau hatte 15 Jahre früher sein platonisch geliebtes Dienstmädchen in den Selbstmord getrieben. Schreckte der Komponist deswegen vor dem finalen Liebesduett der Monster Turandot und Kalaf zurück?

OPERN- & MEDIENKUNST-SYMPOSIUM
FRIDAY 24.1.

17.00 – 18.00 Guided exhibition tour
ZKM
19.00 – 21.30 Digital Freischütz
VR-Opera in four episodes,
15 minutes each, STAATSTHEATER

SATURDAY 25.1.
at ZKM
9.30 Coffee & Registration
10.00 Opening ceremony
Dr. Frank Mentrup Mayor
Dr. Susanne Asche Head of the Kulturamt
Nicole Braunger Opera director
STAATSTHEATER
Peter Weibel CEO ZKM

10.45 Key Note
Kay Voges, Intendant
Schauspiel Dortmund
11.30 – 13.00 Panel I
Cities of Media Arts –
Opera & Media Arts in Germany
AES+F Media arts collective
Manuel Braun Director & Video artist
Fabio Cherstich Director
Carl Hegemann Author & dramatic advisor
Stephan Mösch Publicist,
Music & theatre scholar
Yuval Sharon Director
Kay Voges Intendant
Schauspiel Dortmund

13.00 – 14.00 WORKING LUNCH at ZKM
14.00 – 15.30 Panel II in English
Far Beyond – International Perspectives
on opera & media arts
14.00 – 14.45 Best Practice International
Presentation of attendants

14.45 – 15.30 Panel Talk
Cyberräuber VR experts, Berlin
Representatives Ars Electronica Linz
Lilli Paasikivi Intendant
Finnische Nationaloper, Helsinki
Olga Soloveva Director
Digital Opera 2.0, St. Petersburg
Representatives Theatre in the Digital Age,
European Theatre Convention (ETC)

15.30 – 16.00 Coffee break
16.00 – 17.30 Panel III
Art of sound – transmedial approaches
in the interaction between composition,
performance, and reception in the
musical theatre of the 21st century

16.00 – 16.30 Listen to the music
Presentation of attendants
& of the project De-Linking Sounds
16.30 – 17.30 Panel Talk
Georg Haidu Composer
Anno Mungen Music scholar
Matteo Pasquinelli Professor for
media philosophy HFG
Marlon Schumacher Composer
Marc Sinan Composer
17.30 Shuttle ZKM – STAATSTHEATER
18.00 WORKING DINNER
MITTLERES FOYER
STAATSTHEATER
18.30 Introduction Turandot

GROSSES HAUS STAATSTHEATER
19.00 Premiere TURANDOT

FRAMEWORK PROGRAMME
Project presentation AES+F im PanoramaLabor ZKM,
Digital Freischütz & VIVISCIMcollectif bjorn | Tours of the ZKM

Digital technologies are ubiquitous. Applied to opera they open up countless possibilities to offer unusual experiences and to make this art form accessible to the audience in a new way. This allows for the spark of
enthusiasm to also reach those people who have never seen an opera performance before.
The STAATSTHEATER together with the ZKM Karlsruhe invites media artists and theatre producers to attend this symposium in the Opera and Media Arts series.
Attendants will gain an insight into the development of the digital and media in musical theatre and investigate the question of what opera could look like in the year 2070.
The symposium culminates in the premiere of the opera Turandot, which is staged by the Italian director Fabio Cherstich in collaboration with the Russian video arts collective AES&F and produced as a cooperation with
the opera houses in Palermo and Bologna.
Registration medienkunst@staatstheater.karlsruhe.de
Free admission

/////// / |< ||| | ZKM | Zentrum für Kunst und Medien Karlsruhe
/////// / |< ||| | ZKM | Center for Art and Media Karlsruhe
/////// / |< ||| | ZKM | Centre d’art et des médias Karlsruhe
Lorenzstr. 19, D-76135 Karlsruhe
https://zkm.de/de

RAHMENPROGRAMM
Projektpräsentationen AES+F im PanoramaLabor ZKM,
Digital Freischütz & VIVISCIM collectif bjorn | Führungen durch ZKM

TURANDOT Palermo

https://estherartnewsletter.wordpress.com/2018/12/17/turandot_aesf

AES+F Group Moscow
Tatiana Arzamasova – Lev Evzovitch
Evgeny Svyatsky +Vladimir Fridkes

https://aesf.art/projects/princess-t/

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NETZ WERKE_galeriecrone wien

Galerie CRONE WIEN
NETZ WERKE

Opening: 16. Januar 2020 | 18 – 21 pm
Sike Albrecht, Volo Bevza, Kamilia Bischof
Olga Jakob, Markus Saile, Erik Swars
Exhibition: 16. Januar – 7. März 2020
Getreidemarkt 14,
Eingang Eschenbachgasse, 1010 Wien
http://galeriecrone.com/
http://www.silke-albrecht.de/
https://volobevza.com/
http://kamillabischof.com/
http://www.olgajakob.de/
http://www.markussaile.de/
http://www.erikswars.info/

Volo Bevza Metamorphose 4 (Portrait of Valentin Tszin), 160×180 cm, oil and acrylic on canvas, 2019

Sike Albrecht
geboren 1986 in Soest
lebt und arbeitet in Düsseldorf

2010 – 2015
Studium der Freien Kunst an der Kunstakademie Düsseldorf,
Meisterschülerin bei Prof. Andreas Gursky
2006 – 2010 Studium der Freien Kunst an der Kunstakademie Münster, bei Prof. Michael van Ofen

Volo Bevza
Metamorphose Series 2018-2019
“My works refer to the omnipresence of the internet as well as the global invasion of what is called “augmented reality” into daily life, natural environments, and into the way we look at paintings. My suggestion is defamiliarization – to render familiar things strangely – to question the illusionistic realm of painting as much as the one of the computer desktop. The series Digital Water is referring to typical computer desktop interfaces and encompasses the alchemical search for visual keys to a casual “user experience“. Metamorphose shows computer generated shapes and refers to Ovid as well as states of change.”

Kamilia Bischof
geboren 1986 in Graz, Österreich
lebt und arbeitet in Berlin und Wien

Olga Jakob
*1985 in Kiew
lives and works in Cologne

2014 – 2015 Masterclass, Prof. Helmut Dorner
2009 – 2015 Academy of Fine Arts Karlsruhe
2012 School of Art Berlin Weissensee
2005 – 2009 University of Cologne

Markus Saile
born in Stuttgart
lives and works in Cologne

Erik Swars
1988
born/grew up in Zwenkau/Leipzig

2005-2006 Academy of HGB
Jochen Plogsties
2010-2011 Academy of LSOD
Christian Weihrauch
2011 – 2016 Burg Giebichenstein University of Art
Halle (Saale) Prof. Triebsch
2013-2014 Geidai Tokyo National University of Fine Arts
2015 JASSO scholarship
Geidai Tokyo National University of Fine Arts
2016 Diploma
Jochen Plogsties – Peter Möller

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Tigist Yosef-Ron

TAMA -Tel Aviv Museum of Art
Tigist Yosef-Ron, winner of the 2019
Haim Shiff Prize for Figurative-Realist Art

Exhibition 2020
Doron Rabina, TAMA Chief Curator
27 Shaul Hamelech Blvd
Tel Aviv, Zip code: 61332012 ISRAEL
http://www.tamuseum.org.il/default.aspx

Tel Aviv Museum of Art marks the Jewish new year

By hanging three works by artist Tigist Yosef-Ron, depicting three Ethiopian-born Israelis: Yehuda Biadga z”l, Yosef Salamsa z”l and Avera Mengistu

Three tragic cases that attest to the relationship of the Ethiopian community with the Israeli public. The three drawings, on loan from the artist, were hung between the two Israeli art permanent display galleries at the Herta and Paul Amir Building. The hanging of these works joins the social and civil issues that the Museum has recently placed on its agenda, in changing exhibitions as well as in its permanent displays -among them censorship and freedom of speech (“Forbidden Music”), civic duty and climate change (“Solar Guerilla”) and women’s status in Arab society (“Samah Shihadi: Spellbound”).

Agernesh’s son charcoal on paper 2019 70×50 – © Tel Aviv Museum of Art

Tigist Yosef-Ron: Yehuda and Yosef were young Israelis killed by police violence, and Avera Mengistu is a young Israeli who is being held by Hamas for over five years. The series was created from a deep sense of frustration that these sad cases and the families’ pain do not move the Israeli public to action. It bothers and hurts me that the cry remains within the Ethiopian community. Against this background, TAMA’s approach to present these works and to treat the issue gravely serves as a source of consolation and hope.”

Mamye’s son charcoal on paper 2019 70×50 – © Tel Aviv Museum of Art

Doron Rabina, TAMA Chief Curator: TAMA presents the best modern and contemporary art, but is also well grounded in the here and now, and emphasizes containing and dealing with issues that are troubling and ought to be placed on Israeli society’s agenda. A museum formulates a social and ethical stance, in addition to a cultural one. It is of great importance to us that our hundreds of thousands of visitors throughout the year, among them tens of thousands of children and pupils, are exposed to a credible and thought-provoking mirror of the reality in which we live.”   A solo exhibition by Tigist Yosef-Ron, winner of the 2019 Haim Shiff Prizefor Figurative-Realist Art, will open at TAMA later in 2020.  

Fernos’s son charcoal on paper 2019 70×50 – © Tel Aviv Museum of Art

Photos: © Tel Aviv Museum of Art, protected by Copyright and License.  All rights reserved. Reproduction prohibited. Copyright © Sisterscom.com  

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Israeli Patriots and Justice-Hague

International Criminal Court, or ICC, is seen in The Hague, Netherlands, November 7, 2019. credit Peter Dejong,AP

JERUSALEM — The chief prosecutor of the International Criminal Court said on Friday that she had found a basis for investigating possible war crimes by Israel in the occupied Palestinian territories. But she is first asking the court to confirm that it has jurisdiction there, which Israel insists it does not.

Israeli Patriots and Justice Seekers Should Look to the Hague With Hope

Gideon Levy Dec 22, 2019 12:20 AM
Now it’s a double header. In a combination of events, not entirely coincidental, Israel and its prime minister are both accused of crimes, and both are trying to evade justice in the same way: by hobbling the justice system in each case. The suspicions regarding the state’s crimes are much more serious than those of its prime minister, and therefore the state’s evasion of justice is much more nefarious.
The Israelis, almost all of them, think differently, of course. For them, the greater corruption is that of the prime minister; in their consciousness, that of the state doesn’t exist. No one told them about the crimes that are committed every day. They have only been told that their army is the most moral in the world and they have swallowed this, hook, line and sinker. In Israel anyone who dares call a crime a crime is an anti-Semite. Now the chief prosecutor of the International Criminal Court in The Hague, Fatou Bensouda, says there is reason to believe that Israel has committed war crimes. Perhaps anti-Semitism has spread to her home country of Gambia as well. But Chief Prosecutor Bensouda is cautious in her statements; she is too cautious.

This is the day we’ve been waiting for. All seekers of justice have been waiting for it. Anyone who believes that crimes have been committed hopes for the day when the perpetrators will be brought to justice, whether they be murderers, rapists, robbers or army commanders, ministers or settlers responsible for war crimes. The likelihood of Israel investigating itself is not slim; it’s nonexistent. And so we look to The Hague, to the place where war criminals are judged when their countries would not dream of prosecuting them.
Israel is a clear example of such a country. Does anyone seriously think that war crimes were not committed during the 2014 war in the Gaza Strip? Not even on Black Friday in Rafah? That the transfer of hundreds of thousands of civilians to occupied territories and the forced takeover of land there, including privately-owned land, is not a bold-faced and callous infraction of international law? Is there any fair legal official who sees hundreds of unarmed demonstrators killed near the fence that imprisons Gaza, a war crime in itself, and does not want to see those responsible punished?

This is a great day because it is not only a question of past crimes, but crimes that are happening every day, to this very day. They are going on while these lines are being written and while you are reading them. There is not one moment without a crime. The only way to stop them is by criminalizing those responsible. Israel will never do this itself, only The Hague. When ministers and officers fear leaving the country, the Air Force will think twice before bombarding tin shacks in Gaza and massacring their inhabitants.

The road is still long and the terror Israel casts on the international community is still great. But one achievement has already been chalked up: Israel did not deny the crimes, but rather the authority of the court to judge them. This misstep of Israeli propaganda will be corrected, but the claim that The Hague does not have the authority to deal with what is happening in the areas Israel occupies raises a powerful question: So who does? The Military Advocate General? The High Court of Justice? Surely you jest. “A black day for truth and justice,” said Prime Minister Benjamin Netanyahu, on a day that is incomparably glorious in its promise of truth and justice. “Capitulation to the false and defamatory propaganda of Palestinian terror,” Kahol Lavan lawmaker Yair Lapid pontificated, once again proving that on the important issues, there really is no difference between him and Netanyahu.

Israel has done everything to reach The Hague. That’s what happens when the prosecution is a cemetery for war crimes, the High Court whitewashes them and the media hides them and covers for them. That’s the way it is when international law is disparaged for decades. There’s probably no other country that thumbs its nose at international law this way and pays no price for it. Perhaps now the moment of truth is approaching, the moment of penalty. It will be very good for Israel. It might clean out its stables, stained with blood and stolen land. Every Israeli patriot and seeker of justice should now look to The Hague with hope.

https://www.haaretz.com/opinion/.premium-israeli-patriots-and-justice-seekers-should-look-to-the-hague-with-hope-1.8295207

By: Zvi Barel [Haaretz]
[Photo by Emil Salman] 25.12.19
First Netanyahu was beeping on the court, now he was begging on the Hague.
The Israeli Prime Minister’s defense speech against the ICC’s accusations is ready. Here is the first paragraph: “This is a very difficult day, and I know it is very difficult for a lot of people who support and love the State of Israel. And I want to tell you a few things from heart to heart. I think it should be blind to not see that something is wrong with the ICC investigators. Because tonight, we are witnessing an attempt by a government coup against the State of Israel, with false allegations and a process of filthy and deceitful investigations. “

Selling, isn’t it? In a brief act of copy-pasting, with minor corrections, from Benjamin Netanyahu’s hysterical speech on the evening of the attorney general’s announcement of his decision to prosecute. The same spirit, the same bitterness, and especially the same contemptuous assertion of selective enforcement. Why not investigate Syria and Iraq, China, Iran and Hamas, whining about the accused’s professional spokesmen, sorry, suspected, because this is only a “probe” and not an investigation under warning.
Selective international enforcement is a miserable and dangerous claim. Unhappy, because it is similar to the claim of a captured driver while other drivers are quickly passing the policeman. Dangerous, because Israel puts itself in line with the worst in the world, and demands the same treatment. There can be no more compelling encouragement for the investigation than the Israeli demand to investigate the collegiate countries who committed the same crimes. Like her as an admission of guilt. Does Israel really want to be treated as it is in China, Iran or Syria, and perhaps it feels a lot of fate with Russia, which conquered the Crimea?
Russia is subject to sanctions for that occupation; Iran is being punished not only because of the nuclear program but also because of the human rights violation, and as for China – the US House of Representatives this month received a bill calling for sanctions on it for the ongoing violation of the Uighur minority. So maybe Israel wants to enjoy its “discriminatory for good” treatment of Turkey, which is not investigated by the International Criminal Court for killing Kurdish civilians in its territory? Not really. The U.S. Congress on both houses recently recognized the Armenian murder of 1915 as a genocide, and President Donald Trump last year imposed sanctions on Turkey for the arrest of an American priest.
The punishment of these countries did not require the tedious procedure of the International Criminal Court. If there is international selective enforcement, it is precisely Israel that enjoys it.

China has something to learn from us
For that matter, from Israel’s point of view, even if the International Court of Justice had decided to investigate those countries, and even do them, it would not matter. Because Israel does not at all recognize the offenses attributed to it, first of all, the establishment of settlements in occupied territory. Or as Netanyahu made clear: “The tribunal comes and tells us that we have no right to live here, and if we live here, we commit a war crime.” In other words, Israel is on its way to another long beep on evil international institutions, who only want to be harassed.

This is, of course, a false claim. The Tribunal does not deny Israel’s right to live “here” in the State of Israel, whose borders the international community recognized, the one that established the Criminal Court. Nor does it deny the right of settlers to reside in the West Bank or on the moon in the future, if Israel and the Palestinians agree to it. But right now, under international law, it’s an offense. No anti-Semitism against Zionism, no discrimination, and no revenge.

https://www.haaretz.co.il/opinions/.premium-1.8316112

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