TIME TABLE WORK PCAP MAY 2011

1.05.2011, Sunday MAY DAY

2 and 3.05.2011, Monday/Tuesday Entry exams, first round (internal info for the class) From 9.00 to 19.00

2.05.2011. Monday M1, At 19.00 until 23.00

Open working process in the class. PREPARATION for the PANEL on the 13.05.2011 that will be on the 13.05!!! from 13.00 until 17.00 in Room M20, Academy of Fine Arts Vienna, Schillerplatz 3. See for the program what is under 13.05.2011!

On Monday, 2.05.2011, we will go through the texts and positions by prominent North African, Asian-European, Iran/USA curators and artists, that are taking part in the panels on the 13.05.2011.

The presentations on Monday, 2.05 at 19.00 will be done by the Editorial Group for Writing Insurgent Genealogies (Carolina Agredo, Sheri Avraham, Iris Borovcnik, Annalisa Cannito, Miltiadis Gerothanasis, Marina Grzinic, Niki Kubaczek, Marissa Lôbo, Ivana Marjanovic).

We will work about 3 to 4 hours and present each of the speaker and the points he or she or the group is developing. This will allow posing questions and engaging in the debates on the 13.05.2011 as a class and individually.

3.05.2011, Tuesday Open space, Vienna At 19.00

Opening of the show Widersprüche! Critical Agency and the Difference within and to the public talks by bini adamczak, Eduard Freudmann, Oliver Marchart and Nora Sternfeld

Adress: Open Space Lassingleithnerplatz 2 1020 vienna

Lets meet there!

2 to 7.05.2011, Monday to Friday M1, from 10.00 to 18.00 Farocki film seminar

5.5. 2011.2011, Thursday At 18.00, M1 PLATFORM HISTORY POLITICS/Edi Freudmann

9.05.2011, Monday

11.00 to 13.00, INDIVIDUAL MEETINGS, office Grzinic, contact me

M1, at 15.00 until 20.00

Diploma presentations, second meeting, with debates and contextualizations

Barbara Wilding Reinhard Uttenthaler Thomas Schoiswohl Okenna Okafor

9.05.2011, Monday M1 at 20.30 FILM SCREENING, a monthly film program conceived by Claudia Caceres and Marissa Lobo.

FILM: »A Film Unfinished”, 2010, Israel DIRECTOR: Yael Hersonski RUNNING TIME: 90 minutes English subtitles.

Organized in collaboration with Sheri Avraham and Tal Adler. Copy provided by Chui Yong Jian.

GUEST FOR THE AFTER FILM TALK: TAL ADLER, artist and curator, based in Vienna.

ABOUT THE FILM: “A Film Unfinished” has been generating buzz for its unorthodox approach to a familiar non-fiction subject: the Holocaust. “A Film Unfinished” is structured around footage from a quasi-documentary propaganda film called “The Ghetto,” shot by Nazi authorities in the Warsaw Ghetto in the spring of 1942. “The Ghetto” is a mix of candid and staged scenes of Jewish life, some of the staged scenes intended to demonstrate the callousness of rich Jews to the plight of their poor and starving Jewish neighbors. By weaving the footage together with Nazi bureaucratic records, outtakes, diaries of Ghetto residents, unauthorized footage from Nazi cameramen and recreations of Nuremberg Trial transcripts, Hersonski attempts to salvage the highly flawed but valuable “The Ghetto” as a historical document.
“There was a time when [the Germans] thought they were going to win this war. The documentation was intended to commemorate this victory and also to educate future generations about this race they had to annihilate to create a Third Reich,” said Hersonski. “Gradually it became evidence against them, so they tried to destroy it. The irony is that they were so good at documenting, they didn’t have the time to destroy everything.” (Hersonski) THE VIEWING OF THE FILMS IS STRICTLY FOR STUDY REASONS and for the possibility of a debate afterwards.

10.05.2011, Tuesday

10.30 to 12.00, INDIVIDUAL MEETINGS, office Grzinic, contact me

10.05.2011, Tuesday M1 from 12.00 to 15.00

ERASMUS PRESENTATIONS Agnes V. Lugosi Lukas Quietzsch

10.05.2011, Tuesday FACULTATIVE : Phd researches theory presentations

At 16: Where: der Vortragssaal des IKL in der Karl-Schweighofer-Gasse AKBILD

10.05.2011, Tuesday FACULTATIVE : MORE ABOUT THE SCREENING ON 9.05.2011

It is by coincidence to have a chance to go also for this public discussion. In charge: Edi Freudmann

WHERE: DÖW - Dokumentationsarchiv des österreichischen Widerstandes DÖW Altes Rathaus, Wipplingerstraße 6-8 1010 Wien When: 10. MAI 19 UHR ww.doew.at Dass es nicht immer um „Eingedenken“ (Walter Benjamin) geht, wenn der Nazismus und seine Verbrechen dargestellt oder behandelt werden, zeigen zahlreiche künstlerische, wissenscha"liche und vor allem kulturindustrielle Produkte. Manchmal wird in oder mit ihnen (unfreiwillig) die Barbarei gar reproduziert. Zuletzt verhalf etwa Yael Hersonskis „A Film Un'nished“ dem sadistischen Blick zu einem späten Sieg: Die unkritische Wiederverwertung von Nazi- Propaganda reproduziert diese. Andreas Peham (DÖW) spricht in seinem Vortrag über die Macht der Bilder und die unheimliche „Schuld“ der Opfer und zeigt einige Filmausschnitte zum #ema, mit anschließender Diskussionsmöglichkeit. DÖW - Dokumentationsarchiv des österreichischen Widerstandes Das DÖW versteht sich als Schnittstelle zu Wissenscha", Opferorganisationen und einer interessierten Ö%entlichkeit. Im Rahmen seiner Archiv- und Bibliotheksarbeiten wird Wissen über die jüngste Vergangenheit durch wissenscha"liche Beratung und aktive Gesprächskultur vermittelt.

12.05.2011, Thursday GUIDED TOUR THROUGH THE EXHIBITION ReCoCo: Life Under Representational Regimes. THE GUIDED TOUR WILL BE DONE by the curator Joshua Simon. IN ENGLISH!

Where:
WUK Verein zur Schaffung offener Kultur- und Werkstättenhäuser 1090 Wien, Währinger Straße 59

When : at 17.00 Talk with Joshua Simon as well with some artists in the show is organized in collaboration with Tal Adler. It is a super option to see contemporary art works and meet new positions. ARTISTS IN THE EXHIBITION: Boaz Arad & Miki Kratsman (IL), Ariella Azoulay (IL), Lisa Biedlingmaier (CH), Diego Castro (D), Köken Ergun (TR), Francesco Finizio (USA/F), Thomas Galler(CH), Roee Rosen (IL), Anna Witt (A), Hannes Zebedin (A), Die Sammlung von Rudi Maier (D) „So geht Revolution“ - Werbung & Revolte CURATORS: Siri Peyer und Joshua Simon The exhibition opens on the 11.05.2011 at 19.00 in wuk The 13.05.2011 Friday From 13.00 to 17.00., M20, Akbild Schillerplatz PANEL DISCUSSIONS under the topic: SWEET 1960s

We got an invitation to co-organize the panel/s and take part in the debates. The preparation of the readings will be on the 2.05, as announced, look 2.05, open to the class.

The panel is organized by tranzit.at in cooperation with the Post-Conceptual Art Practices (PCAP) Akbild.

ABOUT THE PROJECT AS FORMULATED ONLINE at tranzit : “The topic is SWEET 60s, that is a long term experimental curatorial, scientific and educational research project that investigates hidden territories of the revolutionary period of the 1960s regarded from contemporary artistic and theoretical perspectives. The curatorial and artistic focus lies on "post ideological societies" (in post-soviet, post socialistic, Eastern European, Middle Eastern West and Central Asian as well as North African countries and in a second phase in China and Latin America) and in making a comparative analysis and contextualization of the historical developments in arts culture and society of the 1960s and 70s and their subsequent effects on contemporary socio-political and cultural situations. “

PROGRAM/DRAFT (changes possible):

1.00pm Introduction Georg Schöllhammer, editor, author, curator and editor-in-chief based in Vienna / Austria.

1.30pm Panel 1 Ruben Arevshatyan, artist, art critic and independent curator based in Yerevan / Armenia. Speaker from turkey / Turkey. (tbc)

2.30pm Panel 2 Bassam el Baroni,curator and art critic from Alexandria / Egypt. Abdellah Karroum, independent art researcher, publisher and curator from Rabat / Morocco. Tirdad Zolghadr, independent writer/curator and teacher at the Center for Curatorial Studies, Bard College in New York / USA.

3.30pm Panel 3 Olga Bryukhovetska, co-funder of the Visual Culture Reserach Center (VCRC) at the National University of Kyiv-Mohyla Academy (NaUKMA) in Kiev / Ukraine. Muratbek Jumaliev, artist from Bishkek / central Asian republic of Kyrgyzstan. Lali Pertenava, art historian and critic from Tbilissi / Georgia. Jahangir Selimkhanov, musicologist and music historian from Baku / Azerbaijan.

Moderating the talks by the Editorial Group for Writing Insurgent Genealogies (Carolina Agredo, Sheri Avraham, Iris Borovčnik, Annalisa Cannito, Miltiadis Gerothanasis, Marina Gržinić, Niki Kubaczek, Marissa Lôbo, Ivana Marjanović) at Post Conceptual Art Practices, Academy of Fine Arts Vienna

MORE ABOUT THE PROJECT:

The main focus of our project lies upon the still underexposed global cultural shift in the 1960s and its subsequent effects in countries that were skipped out from the historical explorations of that particular revolutionary period. The general perception of 1960s period is still being associated with western culture and with the formal fragmented replications of processes on the "peripheries" and "outskirts". Our project points at, reiterates, and re-narrates the still hidden geographies and societies of this cultural shift that most recently is getting rediscovered as a main influence for young artists in different localities around the globe.

In the early sixties, a hopeful spirit of modernism had moved into private ateliers in the art scenes of a lot of artscapes that then had be conceived as peripheral or provincial. In the so called Soviet Block, the existential fears from the period of the Stalinist dictate of realism had already elicited initial counter-reactions after 1956 in a reenactment of extreme subjectivism. In the totalitarian and colonial arts-capes of the Arab world and North and Central Africa as well as West and Central Asia new groups and positions that now emerged were joining an international artistic spirit of late modernist universalism and became able to feel accepted again in the international canon with their kinetic objects, light works, and their structural-geometric abstraction. In the second post-war decade, a generation of neo-constructivist artist on both sides of the Iron Curtain and the former colonies had formed a kind of international association.

During these years, the repressive climate was gradually loosened, and this made it possible to deal more freely with artistic means of representation - and also enabled a new approach to aesthetic work. In a way, neo-constructive modernism, the new abstraction, which functioned not only as a sign of the end of an area, but also as a kind of repression machine: the new modernism was also a substitute for the errors and oversights of as well fordism and socialism and their models of social modernization, criticized mass culture and its everyday objects, placed artistic work in an abstract space of work on the form, and was the vanishing point from the real world of the Cold War. The area of the neo-avant-gardes left traces around the globe. Yet it is still the one in the centers that has been canonized.

In contrast to the now accepted master narratives and historical canons of our project considers the processes of 1960s not as an eruption of a volcano with its fading away waves generating echoes in the rest of the world but as a certain general socio-cultural, political, economical condition evolving in global context, which determined the development of parallel modernities interrelated with the development of divers sociopolitical and cultural radical processes in every part of the world. External Links at.tranzit.org The event brings together key personalities involved in the project „Sweet 60s“, a long term experimental curatorial, scientific and educational research project that investigates hidden territories of the revolutionary period of the 1960s regarded from contemporary artistic and theoretical perspectives.

The curatorial and artistic focus lies on “post ideological societies” (in post-soviet, post socialistic, Eastern European, Middle Eastern West and Central Asian as well as North African countries) in making a comparative analysis and contextualization of the historical developments in arts culture and society of the 1960s and 70s and their subsequent effects on contemporary socio-political and cultural situations.

The participants will give an insight in their practice in regard to the project „Sweet 60s“ as well as a contextualisation within contemporary practices which will open up into a general discussion.

16.05.2011, Monday At 16h KKPD Seminar by P.Dimitrova

17.05.2011, Tuesday M1 at 16.00 to 23.00 Workshop title: Decolonizing Knowledge and Life through Theory and Art The workshop will be conducted by guest lecturer Ivana Marjanović, PhD candidate, Academy of Fine Arts Vienna.

LANGUAGE: German and English

The work that will be done as part of the workshop in the summer semester 2011 will be structured around the production of the book VOCABULARY OF DECOLONIALITY and it will consist of readings and discussions related to the book’s contributions. TEXTS:

Luzenir Caixeta - Minoritized Women Effect a Transformation in Feminism

María Galindo - Mujeres Creando

17.05.2011, Tuesday Also in relation to the workshop texts we read in the past and presently M1 at 20.30 film program organized by Tjasa Kancler PHD student visiting us from Barcelona. Program on topics as postporn, and different strategies of resistance projects. .....postporn and different strategies of resistance projects PROGRAM

1. If You Lived Here Still…. _gentrification, bureaucratic complicity, increasing privatisation of the public sector; the limits in the representation of the social Video-interview with Martha Rosler The (in)visibility of the socially underprivileged and the properties of the urban spaces they inhabit formed the starting point for Martha Rosler’s archive project If You Lived Here... first presented at the Dia Art Foundation in New York City in 1989, with which she undertook radical approach towards the systems and conditions underlying housing and homelessness such as gentrification, bureaucratic complicity or non-compliance and increasing privatisation of the public sector. For the exhibition at La Virreina, Centre de la Imatge in Barcelona (2010) the archive was complemented with local references to several collectives engaged in work with the housing crisis in the specific context of the city of Barcelona and by debates with representatives of collectives and local organizations on different forms of cultural activism and new strategies for social representation. Martha Rosler (New York, 1943) Since the early 1970s, through her numerous works and projects, traversing diverse working methods from documentary to performative, literary to organisational, Martha Rosler has progressively sought ways for socially engaged art practice and critical feminist position, to reconnect the private and public spheres, domestic space and media culture and the urban environment in confrontation with shifting political and economic realities. www.martharosler.net

2. Real Time (2003) _images, words and political praxis from the bodies of precariousness Video-interview with Maria Ruido From the 1970s onwards, inhabitants of “total work”, against traditional union movements, call for a withdrawal from production as a fundamental position of resistance. Video essay, Real Time, is located within this process of redefinition, stemming from the artist’s own experience as a cultural worker. The project reactivates some previously examined questions, and tries to think about the possibility/opportunity of constructing for the new working class its own visibility and a narrativity.

María Ruido (Orense, 1967) María Ruido has been developing interdisciplinary projects since 1996, about the social elaboration of the body and its location in the imaginaries of labour, as well as about the mechanisms for the construction of memory and its relation to the narrative forms of history. She presently lives in Barcelona, where she is lecturer at the Department of Media at Universidad de Barcelona. She is part of various study groups researching representation and its contextual relations. www.workandwords.net

3. Virgin Machine (1988) _’Don't say “I'm an S/M lesbian”, when you could be saying, "I fantasize eating out my manicurist on the bathroom floor with her mouth gagged by a rubber ball." Or, "I pinch my nipples when I masturbate until they're hard as points". And, "Fist me until the sweat drips off my lip. Isn't that much more enlightening?” (Susie Bright, Virgin Machine) Film by Monika Treut Dorothee, a would-be writer and journalist, who leaves Germany for the Oz of San Francisco, searching for her long-lost mother and a cure for the malady of love. Installed in the Tenderloin, she peeps in on neighbours' bizarre sex rituals as well as does sightseeing of the more traditional kind. But encounters with male impersonator Ramona, charming Hungarian bohemian Dominique, and Susie Sexpert, barker for an all-girl strip show, lead to exploratory adventures of self-discovery and fun. When Dorothy surfaces like a dazzled tourist on the wilder shores of the city's lesbian community, she has discovered her true sexuality. . . . and left some illusions behind. Monika Treut (1954, Mönchengladbach) For nearly two decades, German filmmaker Monika Treut's films have depicted worlds that the mainstream media tends to treat as "deviant." Her work consistently explores challenging and controversial issues surrounding minority sexual and gender identities. Born in Moenchengladbach, Germany, Treut studied literature and political science in Marburg/Lahn and wrote her doctoral dissertation on the Marquis de Sade and Leopold von Sacher-Masoch. It has been published as The Cruel Woman: Female Images in de Sade and von Sacher-Masoch.

www.hyenafilms.com

4. My Sexuality is an Artistic Creation (2011) _ postporn; counter-practices and subversion Documentary by Lucia Egaña Rojas Postporn emerges in the 90’s with Annie Sprinkle as a response to conventional pornography and its incomplete and utilitarian representation of women sexuality. My sexuality is an artistic creation documents the postporn scene taking important place in Barcelona within the last decade. Through the archive material, DIY postporn videos, performances documentation and public space interventions, and seven interviews with artists and groups such as Diana pornoterrorista, María Llopis, Post-Op, Go Fist Foundation o La Quimera Rosa, Lucia traces the origins of this movement, their personal motivations and referents (Annie Sprinkle, The Volcano LaGrace, Cindy Sherman, Marina Abramovic, Beatriz Preciado, Judith Butler, Michel Foucault or Dona Haraway), to address the key issues on which postporn rotates. It is about the uncovering its causes, motivations and peculiarities, with the quest to build other forms of representation of sexuality where art and political activism are impossible to separate.

Lucía Egaña Rojas (1979, Münster/Chile) has worked as an independent artist and freelance activist. Most of her work is based on collaborative productions that question the construction of social imaginary in popular culture. Since 2004 she is funding member of desBASURAment, an ongoing group project that work in diverse locations with waste, and since 2009, minipimer.tv, a video streaming collective based in Barcelona. www.lucysombra.org

18.05.201, Wednesday
M1 at 10.00 to 15.00 TEXTS:

Sylvia Marcos - Resistance, Agency and Spirituality: Zapatista women re-envision Their Struggle

Encarnación Gutiérrez Rodríguez - AFFECTIVE Value - On Coloniality, Feminization and Migration

Workshop title: Decolonizing Knowledge and Life through Theory and Art The workshop will be conducted by guest lecturer Ivana Marjanović, PhD candidate, Academy of Fine Arts Vienna.

LANGUAGE: German and English

The work that will be done as part of the workshop in the summer semester 2011 will be structured around the production of the book VOCABULARY OF DECOLONIALITY and it will consist of readings and discussions related to the book’s contributions.

Marjanovic will as well give an overview what was done until now, conclusion and plans for the next semester. 19.05.2011 Thursdays At 18.00, M1 PLATFORM HISTORY POLITICS/Edi Freudmann

SPECIAL SCREENING PROGRAM organized by Chui Yong Jian and Yeo Siew Hua. 18, 19 and 20.05.2011

SINGAPORE FILMS: covering the themes of History, Politics and Censorship

Where M1 Introduction and talk afterwards moderated by Chui Yong Jian and Yeo Siew Hua. English subtitles

PROGRAM 18th 2011, Wednesday At 18.00

Sandcastle by Boo Junfeng - www.imdb.com

19th 2011, Thursday At 19.00

Tanjong Rhu by Boo Junfeng - www.fridae.com Utama - Every Name In History Is I by Ho Tzu Nyen - www.transmediale.de Here by Ho Tzu Nyen - www.imdb.com

20th 2011, Friday At 18.00 Invisible City by Tan Pin Pin - invisiblecity.sg In the House of Straw by Chris Yeo - 13littlepictures.com

23.05.2011, Monday, at 16h KKPD Seminar by P.Dimitrova

24.05.2011, Tuesday Edi, Petja, class work/some open questions, also by appointment/individually

30.05.2011, Monday M1, at 16.00 until 20.00 Diploma presentations, third meeting, at 16.00 until 20.00, with debates and contextualizations

Okenna Okafor Barbara Wilding Reinhard Uttenthaler Thomas Schoiswohl

30.05, 2011, Monday M1, at 20.30

Presentation, documents, words, situations on changes in Tunisia 2011; images and narratives by those who took part in Tunisia conference: Iris Borovcnik, Annalisa Cannito, Chui Yong Jian and Miltiadis Gerothanasis

31.05.2011, Tuesday 10.00 to 12.00, Grzinic office, individual meetings 13.00 to 15.00 DIPLOMA STUDENTS, meeting with Marina, Edi and Petja, installment details, OFFICE At 16 .00 until 19.00 Students presentations:

Natasa Mackuljak, Willi Hejda And some other to be announced

31.05.2011, Tuesday M1, At 20.00 lecture

GUEST LECTURER: Cristian Nae, Iasi, Rumania Art Critic & Ph.D. Lecturer, Department of Art History and Theory, "George Enescu" University of Arts, Iasi Title will be announced.