[spectre] Manifesta 4 lectures, Frankfurt/M.

[Andreas Broeckmann]

Hi Andreas,

Iara asked me to forward their lecture program (Manifesta 4).

Best

Luchezar


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M A N I F E S T A  4
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EUROPEAN BIENNIAL OF CONTEMPORARY ART
25 MAY-25 AUGUST 2002, Frankfurt/Main
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Lectures I, January till May 2002
In Co-operation with the Academy of Fine Arts, Staatliche Hochschule f=B8r
Bildende K=B8nste - St=94delschule

18.1. Branislav Dimitrijevic, CCA Centre for Contemporary Art / School for
History and Theory of Images, Belgrade
THE CROWDED VOID: LOCATING AND THINKING VISUAL ART IN CONTEMPORARY SERBIA
(AND WHAT FOR?) (working title)

25.1. Hedwig Saxenhuber, springerin =F1 Contemporary Art Journal, Vienna
WHO IS AFRAID OF THE =EBBOGEY MAN=ED?

15.2. Lionel Bovier, Curator and Publisher, Geneva
CURATORIAL METHODOLOGIES, ARTISTIC PRACTICES AND RELATIVE INDEPENDENCE

22.2. Franck Larcade, Consonni Centre for Contemporary Art, Bilbao
TOMORROW, EVERYWHERE...

8.3. Dagmar Demming, Academy of Fine Arts, Oslo
=EBMULTIPLE PERSONALITY=ED =F1 A PLEASURE WITHOUT GUILT FEELINGS

15.3. Katy Deepwell, Editor of n.paradoxa, international feminist art
journal, London
=46EMINISM IN AN INTERNATIONAL FRAME

5.4. Jo=93o Fernandes, Serralves Museum of Contemporary Art, Porto
The title and subject of the lecture were not yet available when going to
print.

19.4. Erden Kosova, Critic, London/Istanbul
ISTANBUL, NOT CONSTANTINOPOLIS

3.5. Gianni Romano, Critic and Curator, Milan
A CURATOR WITHOUT WALLS (working title)

10.5. Suzana Milevska, Critic and Curator, Skopje
CORRESPONDENCES AND PRIVILEGES

Lectures will be held in English except January 25 and March 8.

7 pm at St=94delschule, D=B8rerstr. 10, 60596 Frankfurt / Main
Subject to alteration!

Information: +49/69/40 58 95 =F1 800, office@manifesta.de, www.manifesta.de
Manifesta 4 c/o K=B8nstlerhaus Mousonturm, Waldschmidtstr. 4, 60316 Frankfur=
t

Manifesta 4 is supported by Stadt Frankfurt am Main, Allianz Kulturstiftung,
Messe Frankfurt. Sponsored by Hessische Landeszentralbank, Deutsche St=94dte
Medien GmbH, Media-partner hr2
 18.01. Branislav Dimitrijevic, CCA Center for Contemporary Art / School for
History and Theory of Images, Belgrade: THE CROWDED VOID: LOCATING AND
THINKING VISUAL ART IN CONTEMPORARY SERBIA (AND WHAT FOR?) (working title)

The talk explores the institutional and non-institutional treatment of
visual art in post-Milosevic Serbia. The aim is to map the current situation
and on-going projects and efforts that attempt to create a relevant and
critical public space in a conservative and impoverished social ambience.
The examples will range from high profile international projects (such is
the exhibition =ECKonverzacija=EE in the Museum of Contemporary Art) to arti=
stic
projects in non-artistic environments (such is the project =ECFlux=EE carrie=
d
out in suburbs and favelas around Belgrade).

Branislav Dimitrijevic, born 1967 in Belgrade, is art historian, writer and
curator. He currently holds the position of Director of the Centre for
Contemporary Art in Belgrade.
He graduated in Art History at the University of Belgrade and in 1995
received his MA degree in History and Theory of Art at the University of
Kent under Professor Stephen Bann.
He has written on visual culture and contemporary art and politics in Serbia
for local and international magazines and catalogues, and edited a book on
interpretations of popular imagery, =ECPop Vision=EE in 1996. He has written
essays for catalogues of artists including Zoran Naskovski, Milica Tomic,
Zdravko Joksimovic, pRT and others.
With Branislava Andjelkovic he curated exhibitions and edited catalogues
including =ECMap Room=EE (1995) and =ECMurder1=EE (1997), as well as =ECBeau=
ty and
Terror=EE (1998) and "Overground" (1998). His most recent curatorial project
is =ECKonverzacija=EE (2001, Museum of Contemporary Art Belgrade).
He is one of the founders of the School for History and Theory of Images at
the Centre for Contemporary Art, Belgrade where he teaches courses on
Conceptual Art and Reading the Image. He has lectured and participated in
conferences and panel discussions in Canterbury, Stockholm, Innsbruck,
Ljubljana, Skopje, Oslo, Moscow, Graz, Vienna, Cape Town, etc.
He is the President of the Board of the International Contemporary Art
Network (ICAN). He received the Lazar Trifunovic award for art crticism in
1997 and the Dusan Stojanovic award for film theory in 1999.



25.01. Hedwig Saxenhuber, springerin =F1 Contemporary Art Journal, Vienna: W=
HO
=EDS AFRAID OF THE =EBBOGEY MAN=ED?

How wide open are the spaces of art for political counter-strategies? Do
artists have a potential to draw attention in an emancipatory way to present
problems of migration, globalization, poverty and Disneyization? How have
the working conditions and artists' concept of the art work changed through
the impact of these problems? Is the attention being paid to geographical
zones other than the hegemonic ones only a short flash, or have the set of
senses for a changed geography developed in the meantime through networking
and intermeshing institutional relations? Is it not sexy and is it almost
like an anal fixation to analyze social relations of power? To what extent
do artists cut off their room for free movement when they react to social
deficiencies and when that is even expected of them? Using examples from
aesthetic and curatorial practice, the productive contradictions and
ambivalences of such questions are to be discussed.

Hedwig Saxenhuber is a freelance curator and co-editor of springerin, a
journal for contemporary art and lives in Vienna. From 1992 to 96 she was a
curator at Kunstverein Munich. Numerous publications including =ECYvonne
Rainer=EE, =ECOh boy, it's a girl=EE, =ECTrinh T. Minh-ha=EE, =ECLouise=
 Lawler=EE. Most
recent exhibitions: =D1Translocation (new) media/arts=EE, Generali Foundatio=
n,
=ECErlauf recollects=D6=EE, a project in public space, =ECyou are the world=
=EE,
K=B8nstlerhaus/Vienna Festival.



15.02. Lionel Bovier, Curator and Publisher, Geneva: CURATORIAL
METHODOLOGIES, ARTISTIC PRACTICES AND RELATIVE INDEPENDENCE

The lecture recalls the absence of any clear definition as well as legal or
economic grounds for curatorial practice. And hence it questions the
foundation of such a work with regard to artistic practice and writing in
the second half of twentieth century art history. It then re-asserts
independence in terms of methodological possibilities offered to curators,
presenting personal projects which developed from issues such as the role of
archives, the Fluxus notion of the =EBscore=ED and =EBrecessive history=ED.

Lionel Bovier is a freelance curator and writer based in Geneva. An
Associate Curator at Le Magasin, Centre National d=EDArt Contemporain, in
Grenoble since 1999, he is also the co-founder and director of JRP Editions,
an independent publishing company in Geneva. He recently published a survey
of the Swiss art scene (=ECAcross=EE, Skira/Seuil 2001) and among his recent
exhibition projects are =ECTimewave Zero/The Politics of Ecstasy=EE (Grazer
Kunstverein, Steirischer Herbst 2001, together with Jean-Michel Wicker) and
the retrospective of Jack Goldstein at Le Magasin (together with Yves
Aupetitallot and Fareed Armaly).



22.02. Franck Larcade, Consonni Centre for Contemporary Art, Bilbao:
TOMORROW, EVERYWHERE=D6

The only valid field for critical action is reality itself. In such a
context, the question arises as to the nature of new artistic productions
that are based on the use of strategies which irreverently mime capitalist
society.
Consonni (Bilbao) uses well-known economic, political and media forms.
Through the presentation of several recently produced projects, Consonni
develops an ideological position opposed to the conventional art system and
its production models.

=46ranck Larcade, born 1969 has been art producer and director at Consonni
(Bilbao, Spain) since 1996. Among the projects he has recently curated, one
can mention =ECEl Gran Trueque=EE, Matthieu Laurette (2000) and =ECThe
International Auction of the Basque Typefaces =EBEuskara=ED=EE, Heinrich Sac=
hs
(2001).
08.03. Dagmar Demming, Academy of Fine Arts, Oslo: =EBMULTIPLE PERSONALITY=
=ED =F1
A PLEASURE WITHOUT GUILT FEELINGS

I teach at an art academy as an artist and since 2000, as director, I am
responsible for the curriculum. I will present my ideas about the
institution of the art academy, the change in the production of knowledge
and the work of artists from these three perspectives. Concepts like
=EBfreedom=ED as a fog trap, =EBfuzzy logic=ED; the artist will be=
 contemplated as
doctor and the doctor as artist. Institutional frustration will be replaced
by institutional enthusiasm and vice versa. The fun will be separated from
the negative Protestant connotations of the fun society and conceived of as
dynamizing pleasure, jobs as playing fields and misunderstandings as an
opportunity. Sound bytes and slides from my artistic production will confuse
the stringent path of argumentation.

Dagmar Demming, born 1951, was master class student at the Hochschule der
K=B8nste (Academy of Arts), Berlin from 1983 to 89; from 1994 to 97 she taug=
ht
at the Art Center College of Design, Fine Arts Department, Pasadena,
California. 1998 Dagmar Demming wa appointed Professor at the Academy of
=46ine Arts in Oslo, Norway.

Selected exhibitions:
Solo exhibitions: 1992 =ECEstimating Eyes =F1 Measuring Ears=EC,
Treppenhausgalerie Berlin, Galerie von der Tann, Berlin; 1995 =D13 to 4=EC,
Gallery Sundvik-Villano, New York; 1996 =D1New in L.A.=EC, Alyce de Roulet
Williamson Gallery, Pasadena, =D1D=B8n=B8 Duymak/Listening to Yesterday=EC, =
Macka
Sanat Galerisi, Istanbul; 1999 Kunstraum Stavanger, Artists=ED House Oslo
Group exhibitions: 1991 =ECSix from Berlin=EE, Moderna Museet Stockholm; =EC=
This
Way or That=EE, K=B8nstlerhaus Bethanien; 1992 =ECRealtime=EE, Museum for
Contemporary Art, Oslo;
1993 =ECAfter the Wall=EE, The Carnegie, Pittsburgh, =ECFontanelle=EE, Kunst=
halle
Potsdam;
1994 =ECIn Between=EE, Centre A. Brochette, Brussels, Kunstgalerie Gera,=
 Haus am
Waldsee, Berlin, =ECBurnt Whole=EE, Washington DC, Project for the Arts, Bos=
ton,
Institute of Contemporary Art; 1995 =ECBodily Logos=EE, Staatsgalerie Stuttg=
art,
exhibition of the IFA, RENTA Prize, exhibition Nuremberg, Norishalle, =ECAll
Work No Play=EE, Dresden-Hellerau, =ECThe Telematic Space=EE, Neue Gesellsch=
aft
f=B8r Bildende Kunst, Berlin; 1996 =ECQuicksand: MV-Scene in Motion=EE,
Staatliches Museum Schwerin; 1997 =ECFor Lidice, 52 Artists form Germany=EE,
Prague, Museum of the Black Mother of God, Staatliches Museum Schwerin,
=46ridericianum, Kassel; 1997 =ECtowards: ReligionMemoryBody in contemporary
 Art=EE , Graz; 2001 Biennial of Sculpture M=B8nsterland, =ECIntimate Expedi=
tions=EE
, Kunstverein Karlsruhe, Haus am Waldsee, Berlin

Selected scholarships/projects:
1993 Working scholarship from the Art Fund Bonn;
1993-94 Berlin DAAD Scholarship for Los Angeles, Visiting Artist at the Art
Center College of Design, Pasadena California;
1997 Faculty Grant, Art Center College of Design, Pasadena, California; DAAD
Scholarship for lectureship in Pasadena California;
1999 Nordic Institute for Contemporary Art, Helsinki



15.03. Katy Deepwell, Editor of n.paradoxa, international feminist art
journal, London / Post-Doctoral Research Fellow, University of Ulster:
=46EMINISM IN AN INTERNATIONAL FRAME

This presentation will examine the relationship between the art history of
feminist art and the women=EDs art movement, which have often been national =
in
character, and will contrast this with a number of international initiatives
in feminist exhibitions since the 1970s. The feminist art movement in
America has been the most well-documented part of the movement to date and
has become dominant in terms of a published account of what feminism is.
However, examination of international feminist exhibitions reveals a
different agenda at work and a very different account of feminism=EDs
significance as a contemporary art movement. The limited published knowledge
about feminism in the visual arts has created some very specific problems
and distortions for identifying feminism in the visual arts as an
international phenomenon and an art movement with a global reach and
multi-layered histories of exchange and co-operation across borders. The
tensions between these two positions =F1 one national/local, the other
international/global =F1 will be explored in relation to the work of women
artists since the 1970s.

Katy Deepwell is founder and commissioning editor of n.paradoxa:
international feminist art journal. She is currently Post-Doctoral Research
=46ellow at the University of Ulster. Her most recent book is =ECDialogues:
Women Artists from Ireland=EE (Kinsale: Gandon Books, 2001); =ECWomen Artist=
s
and Modernism=EE (ed.) (Manchester Univ. Press, 1998); =ECArt Criticism and
Africa=EE (ed.) (London, Saffron/EAP, 1997); =ECNew Feminist Art Criticism=
=EE
(ed.) (Manchester Univ Press, 1995).



05.04. Jo=93o Fernandes, Deputy Director and curator at the Serralves Museum
of Contemporary Art, Porto
The title and subject of the lecture were not yet available.



19.04. Erden Kosova, Critic and Curator, London/Istanbul: ISTANBUL, NOT
CONSTANTINOPOLIS

The recent tension being produced by the membership negotiations between the
EU and Turkey has a decisive influence on the formation of contemporary
Turkish citizens=ED psyches. Constant oscillations between recognition and
exclusion, desire and resentment, cosmopolitanism and isolation fabricate a
reflexive process, a crisis of the Self which has to be defined anew due to
the changing relations with the =EBhistorical Other=ED. Contemporary artists
from Turkey have an additional concern regarding this tension because they
are welcomed by the European institutions more than the local ones. They
feel the urge to criticize both the increasing nationalism at home and the
expectations for products of representational character, for illustrations
of a geography of the nation abroad. In relation to this double-edged
displacement they employ varyious strategies of resistance. Sometimes they
refer critically to the prevailing, ridiculous rhetoric of the heroic past
of the Ottoman state or to the historical images of European imagery which
reflect an apparent enmity. Sometimes they problematize their own status as
artists from the periphery or sometimes they reject all sorts of cultural
binaries and seek transversal mappings of alternative geographies. In my
paper I will discuss some particular works and illustrate those strategies
of resistance.

Erden Kosova is PhD candidate at Goldsmiths College London. He has worked
for two art magazines in Istanbul, Resmi G=96r=B8s and art-ist.



03.05. Gianni Romano, Critic and Curator, Milan: A CURATOR WITHOUT WALLS
(working title)

The lecture focuses on Gianni Romano's work as exhibition curator and
communicator of contemporary art in a country which does not have museums of
contemporary art. From the viewpoint of curating, Romano will speak as an
initiator of the first Italian web site for contemporary art
www.postmedia.net and also about some of his own publications. Special
exhibitions in which Romano has played a part as curator will also be
presented in this connection: =ECBeyond concentric normality=EE (Padua),
=ECItalian maps=EE (Athens), =ECThe Image of Europe=EE (Cyprus), =ECMedia Co=
nnection=EE
(Rome and Milan). The lecture will conclude with a discussion of the
artistic situation in the social context of Italy.

Romano was born in 1960 in Italy and lives in Milan. He concluded his
studies in literature and philosophy with a thesis on American
science-fiction.
The main focuses of his work as curator and critic of contemporary art are
on photography and art on the internet. His publications appeared in
numerous international art periodicals (Arts Magazine, Art Press, Noema,
Untitled Art). He is presently working for the magazines Zoom (Milan), Lapiz
(Madrid), Flash Art (Milan) and ArtNet (New York).
In 1996 Romano founded the Postmedia Magazine (www.postmedia.net), the first
webzine for contemporary art in Italy. He founded one of the first
institutional courses in Italy on Art and the Internet in 1997 at the
Accademia Carrara di Bergamo.  He has edited more than forty art catalogues
and has worked internationally as a curator on more than fifty exhibitions
in Italy, Switzerland, Spain, Germany, Austria, Finland, Greece, Cyprus and
Mexico. In 2000 Romano curated a large exhibition of contemporary art of the
last decade at the Museo Michetti. This was followed in 2001 by =ECMedia
Connection=EE an historical exhibition on Art and Technology at the Palazzo
delle Esposizioni in Rome and at the Palazzo della Triennale in Milan.

Romano has published the following works: =ECCollecting Images=EE (Fondazion=
e
per la fotografia, Turin 1997), a book for collectors of photography;
=ECArtscape: a Panorama of Art on the Net=EE (Costa e Nolan, Milan 2000), th=
e
first survey of art on the internet; =ECContemporary Women Artists: 1980-199=
9=EE
(with Emanuela De Cecco; Costa e Nolan, 2000), women artists from Cindy
Sherman to the present day; =ECEurope: Different Perspectives in Painting=EE=
 (G.
Politi Editore Milan 2001).



10.05. Suzana Milevska, Critic and Curator, Skopje: CORRESPONDENCES AND
PRIVILEGES

My presentation at Manifesta 4 will deal with the correspondences between
the works of artists coming from Macedonia and the Balkans, and the works of
their colleagues done in another context, the Western art scene. The
customary =EBprivilege=ED of Balkan artists to make art out of the feeling o=
f
uncertainty or =EBapocalyptic=ED fear due to the continual political and
military conflicts in the region was somehow lost after the events of 11
September, so that the correspondences became more inevitable than ever
before.
Along with the discussion of art issues, I would also like to focus on the
common prejudices of each art community about the privileged social position
of the others that I came across during my curatorial work.

Suzana Milevska is an art theorist and curator.
She was born in 1961 in Bitola (Macedonia). In 1984 she received her B.A. fr
om the Art Department of St. Cyril and Methodius University in Skopje and in
1993/1994 she studied philosophy, art history and architecture at the
Central European University in Prague.
She is currently a PhD student at Goldsmiths College. As a curator and
researcher she received the Research Support Scheme Grant (1997), an
ArtsLink Grant (1999) for the residency program at the school of the Art
Institute of Chicago and the Curatorial Research Fellowship of the P. Getty
=46oundation for 2001. She has been publishing critical and theoretical essa=
ys
since the late eighties in numerous art and theoretical journals such as
Kinopis, Kulturen zivot, Golemoto staklo, Siksi, Index, Nu, Springerin,
=46lash Art, Afterimage, Curare and she has participated in several
international conferences and symposia. She has also curated over fifty solo
and group exhibitions and international projects in Skopje (=ECLittle Big
Stories=EE 1998, =ECAlways Already Apocalypse=EE 1999, =ECWords-Objects-Acts=
=EE 2000,
=ECCapital and Gender=EE 2001), Istanbul (=ECWriting and Difference=EE 1992,=
 =ECSelf
and Other=EE 1994, =ECDesiring Machines=EE 1997, =ECAlways Already Apocalyps=
e=EE
1999), Providence USA (=ECLiquor Amnii II=EE 1997), Stockholm (=ECLittle Big
Stories=EE 1998), Berlin, Stuttgart and Bonn (=ECCorrespondences=EE 2001).