Tagung “Kunst – Erkenntnis – Problem” 2012

Im Juni 2012 fand im Institut für vergleichende Irrelevanz (IvI) in Frankfurt am Main die Tagung Kunst – Erkenntnis – Problem. Möglichkeiten emanzipatorischer Kunst heute statt, die das Ziel hatte, die Themenfelder Kunst, Gesellschaftskritik und Politik in Beziehung zu setzen. Auf der Tagung war sowohl künstlerische Praxis aus verschiedenen Gattungen präsent als auch eine Information über aktuelle Tendenzen der Kunst.

Juliane Rebentisch im Gespräch mit der “Free Class Ffm”

Jessica Sehrt: Realismus in der künstlerischen Praxis

Sonntag, Panel Realismus

Tagung “Kunst – Erkenntnis – Problem” 2012

Vom Ort der Barbarei zum Ort der Kunst

Free Class FaM eingeladen von der initiative studierender am ig farben campus |ACHTUNG NEUES DATUM: 01.07.2010 09.06.2010 | 20:00 | Campus IG Farben der Goethe-Universität, Grüneburgplatz 1

Die Leitung des IG Farben Campus wird nicht müde die “zivilisierende Kraft der Ästhtik” zu beschwören. Dabei sollen die Geister der nationalsozialistischen Geschichte dieses Ortes befriedet und zugleich mahnend gegen studentische Proteste in Stellung gebracht werden. Anhand des Beispiels kritischer Selbstvergewisserung der Goethe-Universität lassen sich sowohl veränderte Legitimationsstrategien herrschender Verhältnisse diskutieren, als auch Veränderungen von Produktionsbedingungen der Kunst selbst, besonders in jenem Feld das sich als kritisches Kunstfeld versteht.

In Nachbereitung dieser Veranstaltung entstand der Text “Den IG-Farben ein Antimonument. Wie Umgehen mit dem Poelzigbau?” der im November 2010 in der Broschüre der Campus-Antifa Frankfurt am Main veröffentlicht wurde.

Vom Ort der Barbarei zum Ort der Kunst

Realismus Aktualisieren

Am 04.08.2009 und 05.08.2009 wird sich die Taking Measures Gruppe der Free Class FFM an diesem öffentlichen Workshop während der Interflugs Summer Academy beteiligen.

Teilnehmerzahl: unbegrenzt; Deutsch / Englisch

Es wird darum gehen, den zeitgenössischen Tendenzen der Ästhetisierung von Politik und den Romantisierungen von Politizität einen am Realismus orientierten Begriff von (Selbst)organisation entgegenzustellen. Die Arbeitsgruppe wird auf eine Publikation hinarbeiten, die unsere Position reflektiert und einem möglichst weiten Kreis zur Verfügung stellt. Einige Texte werden ebenfalls in der Dokumentation der Interflugs-Sommerakademie erscheinen.

2008 wurde mit der Freien Klasse der Städelschule Frankfurt a.M. bereits zu dem Thema gearbeitet:

http://takingmeasures.blogspot.com/

http://www.interflugs-academy.net

Workshop-Materialien:

http://takingmeasures.blogspot.com/2009/04/taking-measures-conceptual-notes.html

https://realismworkinggroup.wordpress.com/the-art-of-falling-apart/

https://realismworkinggroup.wordpress.com/interview-klaus-herding/

https://realismworkinggroup.files.wordpress.com/2009/07/kukk_realismus.pdf

Realismus Aktualisieren

Taking Measures – Realism Seminar

at Faites votre jeu (Klapperfeldgasse 5, FFM)

Start: 22.05.2009, 20:00, future dates find at http://takingmeasures.blogspot.com/

In our first meeting we discuss these texts: Eugene Lunn – Marxism and Art in the Era of Stalin and Hitler: A Comparison of Brecht and Lukács and the interview with Klaus Herding – Das Überzeitliche im Realismus

Intro:

Big art sponsors shorten their budgets or melt into air, such as the investment bank Lehman Brothers which also co-financed the Städel Museum in Frankfurt am Main. At the same time the “cultural nation” Germany will profit from art as a local investment, especially in times of economic crisis. The abundance of exhibitions adressing the topic of Germany within the last years[1] show how curatorial concepts can turn art, which even takes a decidedly critical stance against Germany, into a very personal and subjective commitment towards the national state. Max Klebb described these developments aptly as “the critical rebirth of nationalism as culture.”[2] In this way individualized imperatives of artistic production are turned into a subjectivist nationalism which boasts the claim to harbor and utilize limitless dimensions of differences.
The present form of an increasingly visible crisis development within capitalist economy demands a more realistic view on things. In place of the neoliberal euphoria of deregulated markets steps the similarly neoliberal conflict between globalization and national protectionism. But still there is a governmental consensus about taking the economic crisis as an occasion to finally moralize capitalism. The fact that this isn’t primarily meant to flatter NGOs and alter-globalization movements like Attac was made clear by german chancellor Angela Merkel in her new-years speech in 2009: “The crisis reveals the common spirit. Now this common spirit can help us in every situation. (…) We, the Germans, already mastered very different challenges, in the following year we will remeber them.”[3] Shortly after, crisis ridden workers in Great Britain were motivated by a similar sense of national community. They reminded their Labour government of its long made promises by means of a wildcat strike demanding “British Jobs for British Workers”. Here the other side of such “common spirit” of culturalized nationalism becomes clear. Namely the fact that its ideal of affirming differences is based on precarious conditions of bourgeois political economy. As long as the capitalist factory runs well every working worker is welcome at least until the next crisis argument provides the legitimation to reorganize the inventory of Human Resources on a national level.
This present situation illustrates the urgency for a critique of nationalism. So for us as artists the question arises how a cultural nationalism can be confronted in the field of visual arts. Therefore we attempt to discuss realist potentials in art beyond the mere idealization of neoliberal subjectivisms from self-entrepreneurship to “Du-bist-Deutschland” (You-are-Germany[4]). The cultural revitalization of a nationalist romanticism calls for the actualization of realism – a realist stance in art confronting these contemporary forms of national naturalization. But still, it seems that art has more in common with police than with politics. The romantic idea of the artist continues to serve as a tool for subjectivist normalisation. However, the producer of art is still a subject of the enlightenment and as such capable of solidarity and collectivity without the abandonment of identity. Realism as artistic solidarity in opposition to new cultural strategies of nationalism is what we want to address. This is not achieved in the mere reenactment of the historical framework of the debates on realism in visual arts since the beginning of the 19th century. Realism must continously be redeveloped concerning its specific relation to respective historical conditions of crisis.

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[1] such as “Made in Germany”, Hannover 2007 or “Vertrautes Terrain”, ZKM Karlsruhe 2008. And in 2009 celebrating the 60th aniversary of Germany: “Flagge zeigen?”, Haus der Geschichte Bonn as well as “SIXTY YEARS. SIXTY WORKS.”, Martin-Gropius-Bau Berlin. And on April 25, 2009 the contemporary art exhibition “2000 Years Varus Battle. COLOSSAL – Art Fact Fiction” (curated by former documenta boss Jan Hoet) celebrates the 2000th aniversary of the founding myth of german identity – the Varus battle in the Teuteburger forest in the Osnabrücker Land. Under the topic “Deutschland 2009″ the Kulturstiftung des Bundes sponsors a range of projects in different art fields such as the theatre project „60 Years in Germany – Warming up to an Uncomfortable Identity“ or the exhibition “Art of Two Germanys / Cold War Cultures” in the Germanische Nationalmuseum in Nürnberg and in the DHM Berlin. Also in cinema the national birthday is celebrated with “Deutschland 09 – 13 kurze Filme zur Lage der Nation” in collaboration with some of the most well known german star-directors.

[2] Max Klebb in “Die Absage an die Nation Kollektivieren”, invitation call for a conference on art and (anti)natioanlism in Berlin, February 2009.

[3] Quoted after Ivo Bozic: “Wollt Ihr den Normalen Krieg?”, in Jungle World Nr. 2, January 2009 (http://jungle-world.com/artikel/2009/02/32405.html )

[4] Du bist Deutschland – “You are Germany” was a social marketing campaign in Germany. Its aim was to achieve positive thinking and a new national feeling.

Taking Measures – Realism Seminar