ZKM | Zentrum für Kunst und Medien Karlsruhe

Peter Weibels Abschiedsausstellung

»Renaissance 3.0. Ein Basislager für neue Allianzen von Kunst und Wissenschaft im 21. Jahrhundert«

© Constanza Piña Pardo, Foto: Perte de Signal, Camille Montuelle

Presserundgang: Freitag, 24. März 2023 | 11 Uhr

Eröffnung: Fr, 24.03.2023 | 19 Uhr

Künstler:innen der Ausstellung:

Louis Bec, Otto / Oskar Beckmann, Michael Bielicky / Kamila B. Richter, Hubert Blanz, Jonathan Borofsky, Tega Brain, James Bridle, Daniel Canogar, Lutz Dammbeck, Agnes Denes, Anna Dumitriu / Alex May, Thomas Feuerstein, Holger Förterer, Julie Freeman, Christoph Girardet, Barbara Hammer, Rafael Lozano-Hemmer, Ivan Henriques, Lynn Hershman Leeson, Jan van IJken / Jana Winderen, Interspecifics, Manfred Kage, Jens Kull, Armin Linke, Bernd Lintermann, Christian Losert / Daniel Dalfovo, Ana Mendieta, Dorcas Müller, Pasi Orrensalo, Paul Panhuysen, Constanza Piña Pardo, Helen Pynor, robotlab, Tomás Saraceno, Sivu, Nina Sobel, Saša Spačal, ::vtol::, Götz Dipper / Peter Weibel, Michel Winterberg, Liang Zhipeng

Symposium »Renaissance 3.0«

Renommierte Wissenschaftler:innen und Nobelpreisträger:innen

zu Gast am ZKM | Karlsruhe

25. und 26. März 2023, Eintritt frei

Es sprechen Gerald Bast, Tilmann Betsch, Horst Bredekamp, Bazon Brock,

Stefan Hell (Nobelpreis für Chemie 2014), Christiane Nüsslein-Volhard (Nobelpreis für Medizin 1995),

Adam Riess (Nobelpreis für Physik 2011), Uwe Spetzger und Siegfried Zielinski.

Anstelle von Peter Weibel übernehmen

Wolfram Eilenberger und Michael Hübl die Moderation

25.03.2023 – 07.01.2024

Lorenzstraße 19, 76135 Karlsruhe

https://zkm.de/de/ausstellung/2023/03/renaissance-30

https://zkm.de/de/veranstaltung/2023/03/symposium-zur-ausstellung-renaissance-30

http://www.nextrenaissance.eu/

Peter Weibel © ZKM | Zentrum für Kunst und Medien Karlsruhe, Foto: Christof Hierholzer

Das ZKM | Zentrum für Kunst und Medien Karlsruhe trauert um Peter Weibel, der am 1. März 2023 nach kurzer schwerer Krankheit verstorben ist. Bis zuletzt hat er an seinem Ausstellungs- und Forschungsprojekt »Renaissance 3.0« gearbeitet. Die Ausstellung, die ab dem 25. März 2023 am ZKM zu sehen ist, schlägt einen Bogen von der arabischen und italienischen Renaissance zur Medienkunst des 21. Jahrhunderts mit dem Verweis auf eine dritte Renaissance in der Kunst.

Die Verwissenschaftlichen von Kunst war bereits ein Anspruch der Renaissance, der sich über die Jahrhunderte jedoch wieder verloren hat. Heute im digitalen 21. Jahrhundert setzt jedoch eine Wende ein. Künstler:innen und Wissenschaftler:innen arbeiten zunehmend mit denselben Werkzeugen, Methoden und Programmen. Dieser gemeinsame »Pool of Tools« weist auf den Beginn einer dritten Renaissance hin. In seiner neuen und zugleich letzten Ausstellung schlägt Peter Weibel, künstlerisch-wissenschaftlicher Leiter des ZKM | Karlsruhe, einen Bogen von der arabischen und italienischen Renaissance zur gegenwärtigen dritten Renaissance.

Die Ausstellung errichtet ein Basislager für neue Allianzen von Kunst und Wissenschaft im 21. Jahrhundert und veranschaulicht das Entstehen einer neuen Werkzeugkultur. Ein zentrales Element im Ausstellungsraum bildet ein interaktives Wissensfeld, in dem Besucher:innen Begriffe im Raum physisch ansteuern und sich erläutern lassen können. Das künstlerische Wissensfeld ist als eine experimentelle Kollaboration zwischen Mensch und Maschine konzipiert, bei der menschliches und maschinelles Lernen performativ in Aktion zueinander treten.

Peter Weibel, Kurator und künstlerisch-wissenschaftlicher Vorstand des ZKM | Karlsruhe seit 1999, über die Ausstellung: »Die Allianz von Technologie und Wissenschaft als Antwort des Menschen auf die natürliche Evolution ist für mich ein zentrales Thema, da das Überleben des Menschen davon abhängig ist. Die Kunst in ihrer höchsten Form ist keine Abbildungstechnik, sondern ein Akt der Erkenntnis, sowohl der Künstler:innen wie auch der Betrachtenden. Die Medienkunst ist deshalb so wichtig, weil sie über die mimetische Funktion der klassischen Künste hinausreicht. Medien sind Schnittstellen, welche die Welt und ihre Wahrnehmung verändern.«

Mit 35 Positionen der internationalen Medienkunst vermittelt »Renaissance 3.0« Einblicke in künstlerische Laborsituationen und künstlerisch-wissenschaftliche Kollaborationen. Die Ausstellung eröffnet damit einen Raum für neue Werkzeugkultur und ein multidisziplinäres Wissensfeld für das 21. Jahrhundert – von der Biochemie über Genetic Engineering und Informationsdesign zu den Neurowissenschaften und Unconventional Computing.

Die beteiligten Künstler:innen ziehen Verbindungslinien zu historischen Wissensbereichen und bearbeiten innovative Forschungsbereiche. So verknüpft die südamerikanische Künstlerin Constanza Piña Pardo mit ihrer Klanginstallation »Khipu« moderne Systemlogik mit traditionellen Techniken der Inka-Kultur. Ihr Elektrotextilcomputer ist eine rückbesinnende Auseinandersetzung mit einem außereuropäischen binären Mnemosystem, das weitaus mehr zu leisten vermag als simple Informationsaufzeichnung.

Ein ausgeklügeltes Stoffwechselsystem setzt der österreichische Medienkünstler Thomas Feuerstein in der 7-teiligen Kabinettinstallation »METABOLICA Camp« in Gang. Zeitgemäße skulpturale Prozesse werden im 21. Jahrhundert längst nicht mehr durch die in Marmor getriebenen Meißel der Bildhauer autorisiert. Das Atelier ist vielmehr als molekulare Fabrik zu denken, in der skulpturaler Biokunststoff mittels Mikroorganismen und 3D-Druck entstehen kann – so die biokybernetische These und künstlerische Beweisführung.

Begleitend zur Eröffnung der Ausstellung hat Peter Weibel renommierte Wissenschaftler:innen und Nobelpreisträger:innen für ein Symposium ans ZKM | Karlsruhe eingeladen, um gemeinsam mögliche Allianzen von Kunst und Wissenschaft im 21. Jahrhundert abzustecken.

Vertreten sind Wissenschaftler:innen aus der Quantenphysik, Biochemie, Medizin und Kunstgeschichte. Es sprechen Gerald Bast, Tilmann Betsch, Horst Bredekamp, Bazon Brock, Stefan Hell (Nobelpreis für Chemie 2014), Christiane Nüsslein-Volhard (Nobelpreis für Medizin 1995), Adam Riess (Nobelpreis für Physik 2011), Uwe Spetzger und Siegfried Zielinski.

Das Symposium findet in deutscher Sprache statt.

Anstelle von Peter Weibel übernehmen Wolfram Eilenberger und Michael Hübl die Moderation.

Der Eintritt ist frei.

ABOUT THE NEXT RENAISSANCE PROJECT

TOGETHER IT IS ALL TRANSFORMATIVE

The Next Renaissance is a movement and debate around the world that European stakeholders from the Cultural and Creative Sectors and Industries (CCSI) want to support and drive forward. To this end 50 partners collaborated since 2020 from across all sectors in the CCSI…

http://www.nextrenaissance.eu

Wiener Konzerthaus

Saint Louis Symphony Orchestra / Ólafsson / Denève

Donnerstag 23 März 2023 | 19:30 Uhr

Besetzung

Saint Louis Symphony Orchestra

Víkingur Ólafsson, Klavier

Stéphane Denève, Dirigent

Saint Louis Symphony Orchestra

Programm

Sergej Prokofjew

Ljubow k trjom apelsinam »Die Liebe zu den drei Orangen«.

Symphonische Suite op. 33a (1919)

Edvard Grieg

Konzert für Klavier und Orchester a-moll op. 16 (1868)

Sergej Rachmaninoff

Symphonische Tänze op. 45 (1940)

Großer Saal

Lothringerstraße 20, A-1030 Wien

https://konzerthaus.at/konzert/eventid/59716

https://www.vikingurolafsson.com

https://www.slso.org/en/musicians-slso/auditions/symphony/

Clavieristische Funkenflüge

Víkingur Ólafsson öffnet seinem Publikum Tore zu einer neuen Welt: Der gebürtige Isländer setzt bei seinen Interpretationen und Projekten auf Horizonterweiterung. So stellte er bei einer seiner CD-Einspielungen Klavierstücken von Rameau Kompositionen von Debussy gegenüber. In ein neues Licht wird er eines der beliebtesten und zugleich auch imposantesten Klavierkonzerte der Spätromantik rücken. Mit dem Saint Louis Symphony Orchestra unter der Leitung seines Chefdirigenten Stéphane Denève interpretiert Ólafsson jenes Werk, das den frühen Ruhm Edvard Griegs begründete. Der Erinnerung Griegs zufolge soll der unerschrockene Franz Liszt das vollgriffige Werk mit der atemberaubenden Kadenz einst vom Blatt gespielt haben: »Zuletzt sagte er mit einer seltsamen, innigen Betonung, indem er mir mein Werk wiedergab: Fahren Sie fort, ich sage Ihnen, Sie haben das Zeug dazu, und − lassen Sie sich nicht abschrecken.«

Saint Louis Symphony Orchestra unter der Leitung seines Chefdirigenten Stéphane Denève

stephanedeneve.com/

Víkingur Ólafsson

Pianist Víkingur Ólafsson has made a profound impact with his remarkable combination of highest level musicianship and visionary programmes. His recordings for Deutsche Grammophon – Philip Glass Piano Works (2017), Johann Sebastian Bach (2018), Debussy Rameau (2020) and Mozart & Contemporaries (2021) – captured the public and critical imagination and led to album streams of over 260 million. The Daily Telegraph called him “The new superstar of classical piano” while the New York Times dubbed him “Iceland’s Glenn Gould.”

Now one of the most sought-after artists of today, Ólafsson’s multiple awards include Gramophone magazine’s 2019 Artist of the Year, Opus Klassik Solo Recording Instrumental (twice) and Album of the Year at the 2019 BBC Music Magazine Awards.

Ólafsson continues to perform with the world’s leading orchestras and as artist in residence at the top concert halls and festivals. He also works with some of today’s greatest composers.

A captivating communicator both on and off stage, Ólafsson’s significant talent extends to broadcast, having presented several of his own series for television and radio. He was artist in residence for three months on BBC Radio 4’s flagship arts programme, Front Row. Broadcasting live during lockdown from an empty Harpa concert hall in Reykjavík, he reached millions of listeners around the world.

https://www.vikingurolafsson.com/

Stéphane Denève Photo by Bart Dewaele

Stéphane Denève

Stéphane Denève is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and from 2023 will also be Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.

Recognised internationally for the exceptional quality of his performances and programming, Stéphane Denève regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century.

Stéphane Denève’s recent and upcoming engagements include appearances with the Royal Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Bavarian Radio Symphony Orchestra, Royal Stockholm Philharmonic Orchestra (with whom he conducted the 2020 Nobel Prize concert), Orchestre National de France, Czech Philharmonic, NDR Elbphilharmonie Orchestra, Vienna Symphony, DSO Berlin, Orchestre Philharmonique de Radio France, and Rotterdam Philharmonic.

In North America, Stéphane Denève made his Carnegie Hall debut with the Boston Symphony Orchestra, with whom he has appeared several times both in Boston and at Tanglewood, and he regularly conducts the New York Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, New World Symphony, and Toronto Symphony. In 2022, Denève was the conductor for John Williams’ official 90th Birthday Gala with NSO Washington; he is also a popular guest at many of the US summer music festivals, including the Hollywood Bowl, Bravo!Vail, Saratoga Performing Arts Center, Blossom Music Festival, Festival Napa Valley, Grand Teton Music Festival, and Music Academy of the West.

Stéphane Denève frequently performs with many of the world’s leading solo artists, including Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Nicola Benedetti, Yefim Bronfman, Renaud and Gautier Capuçon, James Ehnes, Kirill Gerstein, Hélène Grimaud, Augustin Hadelich, Hilary Hahn, Sheku Kanneh-Mason, Leonidas Kavakos, Lang Lang, Olivier Latry, Paul Lewis, Nikolai Lugansky, Yo-Yo Ma, Anne-Sophie Mutter, Kelly O’Connor, Víkingur Ólafsson, Stéphanie d’Oustrac, Gil Shaham, Akiko Suwanai, Nikolaj Szeps-Znaider, Jean-Yves Thibaudet, and Frank Peter Zimmermann.  He also treasures the memory of Nicholas Angelich and Lars Vogt, two exceptional artists with whom he enjoyed a close musical friendship over many years.

In the field of opera, Stéphane Denève led a new production of Pelléas et Mélisande with the Royal Concertgebouw Orchestra and Netherlands Opera at the 2019 Holland Festival. Elsewhere, he has led productions at the Royal Opera House Covent Garden, Opéra National de Paris, Glyndebourne Festival, Teatro alla Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro del Liceu, La Monnaie, and Deutsche Oper am Rhein.

As a recording artist, Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a triple winner of the Diapason d’Or of the Year, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent releases include a live recording of Honegger’s Jeanne d’arc au bûcher with the Royal Concertgebouw Orchestra, and two discs of the works of Guillaume Connesson with the Brussels Philharmonic (the first of which was awarded the Diapason d’Or de l’année, Caecilia Award, and Classica Magazine’s CHOC of the Year). A box-set of his complete Ravel recordings with Stuttgart Radio Symphony Orchestra was released in 2022 by Hänssler Classic.

A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, and has worked regularly with young people in programmes such as those of the New World Symphony, Tanglewood Music Center, the Colburn School, the European Union Youth Orchestra, and the Music Academy of the West.

Wiener Konzerthaus Großer Saal

Lothringerstraße 20, A-1030 Wien

https://konzerthaus.at/konzert/eventid/59716

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Pavilion of Switzerland at the 18th International Architecture Exhibition – La Biennale di Venezia

Neighbours

Karin Sander and Philip Ursprung represent Switzerland

Media moment: Friday, 19 May 2023 | 11 am

Preview days: Thursday, 18 and Friday, 19 May 2023

Official opening: Thursday, 18 May 2023 | 2:45 pm

Curators and exhibitors: Karin Sander, Philip Ursprung

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic (Project Leader),

Rachele Giudici Legittimo (Project Manager)

Exhibition: 20 May – 26 November 2023

Pavilion of Switzerland, Giardini della Biennale di Venezia

prohelvetia.ch/en/press-release/biennale-architettura-2023/

Philip Ursprung und Karin Sander, 2023 © Saskja Rosset

Karin Sander and Philip Ursprung represent Switzerland
at the 18th International Architecture Exhibition – La Biennale di Venezia

Two national pavilions and a wall that connects as well as separates, are the focus of Karin Sander’s and Philip Ursprung’s project Neighbours for the Biennale Architettura 2023. By turning the architecture itself into the exhibit, the artist and the architecture historian introduce the audience to new perspectives on the territorial relations within the Giardini of La Biennale.

After an open call, the Swiss Arts Council Pro Helvetia has chosen to entrust the exhibition of the Swiss Pavilion for the Biennale Architettura 2023 to the artist Karin Sander and the architecture historian Philip Ursprung. Their project Neighbours highlights both the spatial and structural proximity of the Swiss Pavilion to its Venezuelan neighbour and the professional bond of the two architects: the Swiss Bruno Giacometti (1907 – 2012) and the Italian Carlo Scarpa (1906 – 1978).

The Swiss Pavilion designed by Bruno Giacometti opened just over 70 years ago, in June 1952. In immediate vicinity, the Venezuelan Pavilion designed by Carlo Scarpa took shape four years later. Since the old plane trees on either lot weren’t allowed to be felled, the architects designed their buildings around the protected trees. The walls, roofs, and exterior areas of their buildings meet at the closest distance.

Karin Sander and Philip Ursprung bring out the pavilions’ interconnected ground plans, in which the structural neighbourship of the two close architects condenses:

« The Swiss and the Venezuelan Pavilion form an ensemble of exceptional architectural and sculptural quality. Despite this, they are conceived as separate because of their representative function, and thus, are staged accordingly. We are rethinking the functions of the two pavilions and their surroundings in a new light and are dissolving their borders with artistic means. In that, we question the spatial, cultural, and political demarcations as well as the conventions of national representation. In a utopian gesture, we are confronting the location with a poetic reality that momentarily gives room to a new point of view. »

Philippe Bischof, director of Pro Helvetia, about the project:

« By invoking Bruno Giacometti’s and Carlo Scarpa’s architectural heritage and the structural history of the Biennale, Karin Sander and Philip Ursprung are exploring architecture as its own form of relationship work. Their artistic intervention offers a new way of exhibiting architecture. »

Neighbours, Karin Sander, Philip Ursprung, Swiss Pavilion, 18th International Architecture Exhibition – La Biennale di Venezia, 2023 ©KS 2023

Project Team

Karin Sander is an artist and professor of Art and Architecture, and Philip Ursprung is professor of the History of Art and Architecture, both at ETH Zurich.

For their project Neighbours, Sander and Ursprung are assisted by curatorial manager Sassa Trülzsch, project leader Tobias Becker and researcher Berit Seidel.

Karin Sander

was born in 1957 in Bensberg, Germany. In addition to her teaching at ETH Zurich, where she has spent the last 15 years building up the Chair of Architecture and Art at the Department of Architecture, and is responsible for the artistic training of students, Karin Sander’s works are featured in exhibitions worldwide.

In her artistic practice, she questions given situations in relation to their structural, social, and historic contexts and renders them visible through different media. She stages locations with installations, architectural interventions, and sculptures, and creates new codes for existing systems and orders. Her works are in private collections and public galleries such as the Museum of Modern Art (New York and San Francisco, USA), the Metropolitan Museum (New York, USA), Museum Abteiberg, Mönchengladbach (Germany), the Centro Galego de Arte Contemporanea (Santiago di Compostela, Spain), Kunstmuseum und Staatsgalerie Stuttgart (Germany), the National Museum of Art in Osaka (Japan), Kunstmuseum St Gallen (CH), and Kunst Museum Winterthur, (CH).

Karin Sander is represented by Esther Schipper (Berlin, Germany), Galerie nächst St. Stephan Rosemarie Schwarzwälder (Vienna, Austria), i8 (Reykjavík, Iceland), and Helga de Alvear (Madrid, Spain).

Philip Ursprung 

Philip Ursprung was born in Baltimore (USA) in 1963. Ursprung is an art historian specializing in late 20th- and 21st century European and North American art and architecture. His research and teaching focus on the interrelation between architecture and art in a political and economic framework.

Active as a historian, critic, and curator, Ursprung has taught at the University of Zurich, Hochschule der Künste Berlin, Columbia University, and the Barcelona Institute of Architecture. After studying in Geneva, Vienna, and Berlin, he earned his Ph.D. in art history at Freie Universität Berlin. He is a professor of History of Art and Architecture at ETH Zurich, Switzerland, where he was dean of the department from 2017-19.

Photo: © Sébastien Agnetti

biennials.ch

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La Biennale di Venezia

18^th International Architecture Exhibition

The Laboratory of the Future

Pre-opening 18 and 19 May 2023

Curated by academic, educator and best-selling novelist Lesley Lokko

Saturday 20 May – Sunday 26 November 2023

https://www.labiennale.org/en/architecture/2023

The Biennale Architettura 2023 will be held from Saturday 20 May to Sunday 26 November (pre-opening 18 and 19 May), curated by academic, educator and best-selling novelist Lesley Lokko, who has commented: “Architects have a unique opportunity to put forward ambitious and creative ideas that help us imagine a more equitable and optimistic future in common”.

Lesley Lokko is the founder of the African Futures Institute, established in Accra, Ghana, in 2020 as a postgrad school of architecture and public events platform. In 2015 she founded the Graduate School of Architecture in Johannesburg. She has taught in the UK, in the US, Europe, Australia and Africa. She is the recipient of a number of awards for contributions to architectural education.

https://www.labiennale.org/en/news/biennale-architettura-2023-laboratory-future-0

Austria at the Venice Biennale

Austria at the Venice Biennale

AKT & Hermann Czech
Austrian Pavilion
Biennale Architettura 2023

Previewtage: 18. / 19. Mai 2023
Ausstellung: 20. Mai – 26. November 2023

Öffnungszeiten:
20. Mai–24. September, 2023: 11–19 Uhr
25. September–26. November: 10–18.00 Uhr
(montags geschlossen, außer am 22. Mai, 26. Juni, 24. Juli, 14. August, 4. September und 20. November 2023)

Giardini della Biennale
Sestiere Castello, 30122 Venedig, Italien
www​.labi​en​na​le​.org

AKT & Hermann Czech, Modellfoto © Theresa Wey

Österreichischer Pavillon

Partecipazione / Beteiligung

kuratiert von AKT & Hermann Czech

Previewtage: 18. & 19. Mai 2023

Team Biennale Architettura 2023

Kommissär: Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport

Kurator*innen / Designer*innen: AKT & Hermann Czech

AKT ist: Fabian Antosch, Gerhard Flora, Max Hebel, Adrian Judt, Julia Klaus, Lena Kohlmayr,

Philipp Krummel, Gudrun Landl, Lukas Lederer, Susanne Mariacher, Christian Mörtl,

Philipp Oberthaler, Charlie Rauchs, Helene Schauer, Kathrin Schelling, Philipp Stern, Harald Trapp

Projekt & Produktionsleitung:

Katharina Boesch, Julia Bildstein, section.a, Wien

For the 18^th International Architecture Exhibition – La Biennale di Venezia, the Vienna-based architecture collective AKT and architect Hermann Czech are planning a socially effective, temporary conversion of the Austrian Pavilion. Part of the building will be open to the adjacent district and freely accessible to the people of Venice. At the centre of this architectural intervention is the question of the power of disposition over space and the social shifts that architecture triggers in its built form.

Displacement

For the first time in its recent history, the population of Venice’s old town has reached a historic low, falling below the critical 50,000 mark. Spatial displacement processes and the loss of essential infrastructure have led to a steady depopulation of the city over decades. In recent years, political promises have been broken and spatial planning control bodies gradually abolished. Social housing construction has now been de facto discontinued. Local life in Venice is increasingly marginalized.

Shifting

The Austrian Pavilion is located on the northeastern boundary wall of the Biennale site. The district behind it is one of the few remaining neighbourhoods in Venice still inhabited predominantly by Venetians. AKT and Hermann Czech plan to open up the historic Biennale wall, to shift the separation between the Biennale and the city into the pavilion and to hand over space to the urban public, a ​“Laboratory of the Future”. In this way, from the midst of it, the Austrian Pavilion calls upon Venice’s biggest cultural event to face up to its political and cultural responsibility as a ​“laboratory of the future” in the context of the city.

Participation

What effect does architecture have, how do social conditions shift when building is carried out? This question is posed by the central exhibit of the exhibition, the dividing wall that separates the symmetrical pavilion between the main rooms. The eastern part of the building, including the courtyard, will be made freely accessible from the city via a newly constructed entrance. It will thus be handed over to its inhabitants and local initiatives as a meeting space. The western part will remain accessible from the Biennale. There, the conversion of the pavilion by AKT and Hermann Czech as well as the relationship between the Biennale and the city will be thematized in an exhibition and an accompanying program.

Responsibility

Should the planned opening to the city fail due to the resistance of the Biennale and/or the participating institutions, this failure will become the political content of the exhibition. The architectural intervention for the project will be carried out, except for the connection and will become the central exhibit of the exhibition as an inaccessible empty space. The half of the pavilion that is then not accessible to the public will become visible to Biennale visitors as a missed opportunity for participation. The failure as well as its reasons will be documented and contextualized in the course of the exhibition. The political dimensions of the responsibility of cultural institutions will thus be presented to the international audience in an all the more vivid and urgent way.

“The architectural separation is not complete, because it is possible for people to hear and see each other obscurely, feel the presence of others. One participates, is involved. Distance becomes participation, from an unconnected coexistence a neighborhood might evolve.”
AKT

“Architecture is not life. Architecture is background. Everything else is not architecture.”
Hermann Czech

HERMANN CZECH

Born in Vienna. Studied under Konrad Wachsmann and Ernst A. Plischke, among others. Heterogeneous architectural and planning work; numerous critical and theoretical publications on architecture.Visiting professorships at Harvard GSD, ETH Zurich and in Vienna; numerous lectures and awards; solo exhibitions, including at the Architekturmuseum Basel, participation in the Venice Architecture Biennale in 1980, 1991, 2000 and 2012. His exhibition designs often make use of (existing) spatial structures to the advantage of the content: e.g.

“von hier aus”, Messe Düsseldorf 1984

“Wien 1938”, Wien 1938“, Wiener Rathaus, 1988

“Wien 1938”, Wunderblock“, Reithalle Wien 1989

“Wien 1938”, Der Wiener Kreis“, Universität Wien 2015

“Josef Frank: Against Design” (also as a curator), MAK Wien, 2015

Ausstellung Sigmund Freud Museum Wien, 2020

https://labiennale2023.at/en/team/

JUSTMAD

JUSTMAD 2023

Directed by Óscar García García

‍VIP and professional:

Thursday , February 23 | 11 a.m. – 3 p.m.

Professional: 3:00 p.m. – 9 p.m. ‍

Friday , February 24 2023

General public: 11 a.m. – 9 p.m. ‍

Saturday , February 25 2023

General public: 11 a.m. – 9 p.m. ‍

Sunday , February 26 2023

General public: 11 a.m. – 7 p.m.

Palacio Neptuno C/Cervantes, 42 28014 Madrid ‍

https://2023.justmad.es/

JUSTMAD is a project of Art Fairs, a Spanish company that promotes art fairs and cultural events. He has organized, since 2009, the fairs MADRIDFOTO (International Photography Fair 4 editions in Madrid), JUSTMADMIA (International Emerging Art Fair of Miami 1 edition), SUMMA (International Contemporary Art Fair 3 editions), JUSTMAD (International Art Fair Contemporary 13 editions) and JUSTLX in Lisbon (Lisbon International Contemporary Art Fair 3 editions).

JUSTMAD is directed by Óscar García García, independent curator, cultural manager, founder of PAC Contemporary Art Platform and author of the book God save contemporary art from Grupo Planeta.

Palacio Neptuno C/Cervantes, 42 28014 Madrid ‍

Metro ‍ Line 1 (Atocha Station and Antón Martín Station)

Line 2 (Bank of Spain) ‍ Bus Lines 10, 14, 27, 34, 37, 45

(Paseo del Prado) Lines 3 and 51

(Carrera de San Jerónimo – Cedaceros)

Gallerie d’Italia Turin

Intesa Sanpaolo’s museum in Turin

JR

DÉPLACÉ-E-S

Public performance: Tuesday 7 February 2023

free preview opening: Wednesday, 8.February 2023 | 19- 22:30

Curator: Arturo Galansino

Exhibition: 9 February – 16 July 2023

Staircase Palazzo Turinetti

Piazza San Carlo, 156, 10121 Torino TO, Italien

https://gallerieditalia.com/en/turin/

https://www.jr-art.net/project-list/deplace.e.s

DÉPLACÉ·E·S, Thierry, Mugombwa, 2022 © JR

Gallerie d’Italia presents the first solo exhibition of JR in Intesa Sanpaolo’s museum in Turin, from February 9 to July 16, 2023.

JR (1983) is a world-renowned artist who combines diverse and expressive languages, such as photography, public art and social commitment, in his projects. For Intesa Sanpaolo’s exhibition, JR will bring his personal touch to recounting reality and stimulating reflections on social fragility. The exhibition which occupies close to 4,000 square meters of the museum in Piazza San Carlo, is presented in collaboration with the Compagnia di San Paolo and curated by Arturo Galansino. For DÉPLACÉ·E·S, JR will involve various local entities with the aim of building more inclusive societies.

Michele Coppola, Intesa Sanpaolo’s Executive Director of Art, Culture and Historic Heritage and Director of the Gallerie d’Italia, comments: “We are presenting in Turin, for the first time in an Italian museum, the work of one of the most original international artists who is also attentive to the great social changes. The project, which combines street art, photography and video installations, confirms the aim of the Gallerie d’Italia in Turin to stimulate reflection on today’s complexities, in line with Intesa Sanpaolo’s commitment to sustainable and inclusive growth”.

JR explains: “In 2022, the number of individuals forced to flee their place of residence because of persecutions, wars, violence and human rights violations has exceeded the ominous threshold of 100 million. This emergency is now compounded by food and energy shortages, inflation and climate-related crises. In many countries of Africa, the Middle East, South America, at the gates of Europe, populations are being forced to abandon their homes to ensure their survival elsewhere. The war in Ukraine has prompted the most abrupt and one of the largest forced exiles since World War II. A symbol of this endless tragedy, the Greek island of Lesbos is the scene of the ebb and flow of migrants arriving by sea as the conflicts develop. This geography of forced relocation constitutes ‘off-limit locations’ that are given excess media attention and are invisible at the same time.”

Las Delicias, Colombia, 2022, ©JR

Valeriia, Thierry, Andiara, Angel, Jamal, Ajara, Moise and Mozhda are the names and faces of the children who embody these forced migrations. By enlarging their portrait on huge banners, JR gives back an identity to those who are deprived of it. Their effigy unfolds in a fleeting and spontaneous manner during collective processions as well as performances organised in the heart of their transitory environment: on the Opera Square in Lviv (Ukraine), in the camps of Mugombwa (Rwanda), Mbera (Mauritania), Lesbos (Greece), in the host community of Cúcuta (Colombia). They are from Ukraine, Congo, Venezuela, Mali, Afghanistan but the same posture unites them. The body is moving forward as if winning a race, with the rebellious smile and a youthful aura: their life force braves the worst pangs of exile. To those who rationalise dehumanisation, JR proposes a sensitive experience from a child’s perspective. Far from stereotypes, the human condition is fully revealed through the hope personified by youth. These children look at us by establishing a relationship of reciprocity between them, us and the future.

JR continues: “The camps are not just places of daily life for millions of people, they have become one of the major components of globalisation, one of the forms of organisation in the world: a way to treat those who are unwanted, what we don’t want to look in the eye. In the service of something greater, my art creates tension between the visible and the invisible to resist the trivialisation of perspectives. Ten years ago, the anthropologist Michel Agier deplored the lack of importance of the status of refugees and displaced persons – which forever seals their exclusion from society. He stated, ‘Hannah Arendt called this exclusion of refugees a social death. I think it is urgent to make the fields known, all types of fields.’ Such is the objective of this exhibition”, concludes the artist.

Rio de Janeiro, Brazil, 2022, ©JR

Since leaving his Parisian banlieue more than twenty years ago, JR has taken his art all over the world with monumental works of public art that engage vast numbers of people and inspire whole communities, from the Brazilian favelas to a maximum security prison in California, from the Louvre Pyramid to the Egyptian pyramids, from the border between Israel and Palestine to the Mexico border with the United States.

Déplacé.e.s, Jamal, Mauritania, 2022

https://www.jr-art.net/

https://www.jr-art.net/project-list/deplace.e.s

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In Zeiten wie diesen, mit stetig steigenden Preisen und daher hoher Inflation kommt es häufig zu Armut. Armut bezeichnet im materiellen Sinn (als …

Gedanken zu relativer Armut

Centre Pompidou

Festival / Evening

Hors Pistes 18e édition | Voir la guerre et faire la paix

19 Jan 2023 | 18h – 22h

20 Jan – 19 Feb 2023

11h – 21h, every days except tuesdays

Niveau –1

Place Georges-Pompidou, 75004 Paris

https://www.centrepompidou.fr/en/program/calendar/event/fNKrv7H

Le Centre Pompidou

Serge Gainsbourg

Le mot exact

Exposition: 25 janv. – 8 mai 2023

12h – 22h, tous les jours sauf mardis

Bpi, niveau 2

Place Georges-Pompidou, 75004 Paris

https://www.centrepompidou.fr/fr/programme/agenda/evenement/sERpg1R

Serge Gainsbourg © Christian Simonpiétri. Sygma via Getty Images

Troubleyn Laboratorium in Antwerp

Jan Fabre Teaching Group

New year, New masterclass!

TROUBLEYN/ LABORATORIUM

Monday 13 Feb – Friday 24 Feb 2023

5 hours / day – 1 pm > 6 pm (Monday to Friday)

10 DAY MASTERCLASS

for actors, dancers and performers.

Pastorijstraat 23, 2060 Antwerp, België

https://www.troubleyn.be/eng/jan-fabre-teaching-group-10-day-session

Inga Gallery

Shay Zilberman Crystal Clear

Opening: Thursday, 5 January 2023 | 6 – 9 pm

5 January – 18. February 2023

Opening hours: Wed–Tue 11am–6pm

Fri, Sat 11am–2pm

Bar Yokhai St 7, Tel Aviv-Yafo, Israel

http://inga-gallery.com/

DESSOUS

artworks by: Ju Aichinger -Nikola Milojcevic

Gert Resinger-Olga Vorobyova-Anny Wass

07.01. Conte Potuto & RSMA Concert

Talk 08.01. 2023

Dark City event 2 12.01. 2023

Finissage: 13.01.2023 | 7 pm Concert by Micro Mata

17.12.2022 – 14.01.2023

Lothringerstraße 4, Wien 4, 1.Stock

www.thedessous.com

CCA Tel Aviv-Yafo

Performance | out-of-office:

Béatrice Larrivée

Thursday, January 5 2023 | 8:30pm

Saturday, January 7 2023 | 8:30pm

Sunday. January 8 2023 | 8:30pm

Choreography by Béatrice Larrivée; performed by Béatrice Larrivée and Alma Karvat Shemesh;

costume design by Gon Biran; original music by Morgan Bobrow-Williams.

2a Tsadok Hacohen St., Tel Aviv-Yafo

https://eventbuzz.co.il/lp/event/bea512

https://www.cca.org.il/

grubeck contemporary

PORTRAITS. EXTENDED. Faces – Traces

SPARKLING TUESDAY

CHEERS TO 2023

10. JANUARY 2023 | 10 6 – 10 PM

Martin Schnur – Jork Weismann – Heidi Lackner – Alexander Ruthner – Michaela Schwarz-Weismann –

Peter Baldinger – Karen Holländer – Ronald Kodritsch – Ben Reyer – Maria Haas – Thomas Laubenberger-

Pletzer – Mari Otberg

Exhibition: 7.12.2022 -28. January 2023

Opening Hours: Di – Sa 11am – 7pm

Himmelpfortgasse 12, 1010 Wien

www.grubeck.at

ELEKTROHALLE RHOMBERG -ELEKTROHALLE SALON

SARAH MÜHLBACHER

Midnight Snack

Opening: Wednesday, 11 January 2023 | 6 – 9 pm

11 January – 1 March 2023

Tuesday – Friday, 12 – 5 pm

Saturday, 12 – 4 pm

Samergasse 28b, 5020 Salzburg

Museum für Geschichte

Sound of St. Lambrecht

Der Klang eines Ortes

Eröffnung: 12.01.2023 | 19 Uhr

Kuratiert von: Thomas Felfer

Ausstellung: 12.01.-11.06.2023

Öffnungszeiten: Di-So, Feiertag 10 – 18 Uhr

Sackstraße 16, 8010 Graz, Österreich

https://www.museum-joanneum.at/museum-fuer-geschichte/

Arthotel Blaue Gans KARAJANPLATZ

Benjamin Heisenberg

Lukusch

Reading and opening: Friday, 13 January 2023 | 7 pm

Herbert-von-Karajanplatz 3, 5020 Salzburg, Austria

Benjamin Heisenberg

https://www.blauegans.at/kunst-und-design/

EBENSPERGER BERLIN

Laura Gaiser

Opening: Sunday, 15 January 2023 | 5 pm

15.01.–19.02.2023

Plantagenstraße 30, 13347 Berlin, Germany

https://ebensperger.net/

galerie michaela stock / Franziska Hausmaninger

MARKO ZINK Manege frei in Suite 17

Marko Zink, 2327_24, from the series “Im Kurhotel”, 2011,

analog photography, film cooked several times, Lambda C-print, laminated,

framed, 150 x 100cm. Edition: 5 + 2 AP, 45 x 30 cm, Edition 3 + 3 AP

ÖFFNUNGSZEITEN: 04.01.2023 | 12 – 19 Uhr

Taschenlampen-Nachtführung mit Marko Zink

05.01.2023 | 12 – 21 Uhr / 18.30 Uhr

Guided Tour mit Marko Zink & Finissage

06.01.2023 | 12 – 21 Uhr / 17 Uhr

INTERVIEW VIDEO

20.10.2022- 06.01.2023

NEUE temporäre Galerieadresse:

Franz-Josefs-Kai 3, Suite 17 / 3 Stock, 1010 Wien

http://www.galerie-stock.net/ausstellungen/vorschau/1518-manege-frei-in-suite-17-marko-zink

Artport Tel Aviv

TALK

Something to Mask the Outside Noise

Wednesday, 4. January 2023 | 7:30 pm.

Talk and listening session with Stanislaw Welbel

Curator Stanisław Welbel

Ha’Amal St 8, Tel Aviv-Yafo, Israel

https://www.artport.art/events/?lang=en

Galerie Graf / Fliegenden Galerie

Alfred Lenz “Gegenüber”

Eröffnung: Freitag, 6. Jänner 2023 | 18 Uhr

Ausstellung: 7.1. – 31.1.2023

Jeweils Montag – Freitag 13- 18

Lobkowitzplatz 1, 1010 Wien

https://www.galeriegraf.at/

www.alfredlenz.com

Royal Museums of Fine Arts of Belgium

Picasso & Abstraction

Exhibition: 14 October 2022 – 12 February 2023

open Monday – Friday | 10 am – 5 pm,

weekends 11 am – 6 pm

Rue de la Régence / Regentschapsstraat 3

1000 Brussels

https://fine-arts-museum.be/en/exhibitions/picasso-abstraction

Mumok

Shortcuts: Kurzführungen am Feiertag

Freitag, 6. Jänner 2023 | 14 Uhr

Ebene 4

Museumsplatz 1, 1070 Wien

https://www.mumok.at/…/shortcuts-die-highlights-aus…

BRAVERMAN GALLERY Tel Aviv, Israel

Between Four Walls

RONIT BARANGA

ARTIST TALK

6. JANUARY 2023 | 12PM

curator Adi Gura

October 27, 2022 – January 12, 2023

33 Eilat Street, Tel Aviv, Israel

mumok Bibliothek

Giuliana Prucca und Flatform

SNATURAMENTI | a workbook by FLATFORM on displacement

Kunst | Buch | Mittwoch

Mittwoch, 11. Jänner 2023 | 18 Uhr

Museumsplatz 1, A-1070 Wien

https://www.mumok.at/…/snaturamenti-workbook-flatform

mumok kino

Ware die Leere , der Lehre Wahre , Lehre ware das .

Mittwoch, 11. Jänner 2023 | 19 Uhr

Museumsplatz 1, A-1070 Wien

https://www.mumok.at/…/ware-die-leere-der-lehre-wahre…

White Cube West Palm Beach

Darren Almond, Isamu Noguchi, Virginia Overton

12 January – 19 February 2023

Wednesday – Saturday 11am – 6pm

2512 Florida Avenue

West Palm Beach, FL 33401

https://whitecube.com/exhibitions/exhibition/Darren_Almond_Isamu_Noguchi_Virginia_Overton_2023

EVENT LOG:

If you want to announce your event in EstherArtNewsletter please fill out the form.

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