m1 (turm4)


Das Ordinariat für (post)konzeptuelle Kunst an der Akademie der bildenden Künste Wien veranstaltet eine Ausstellung und Solidaritätsveranstaltung zum Thema "Illegalisierung und Bleiberecht"

Eröffnung am 9. Oktober 2008, um 19:00
Raum M1 (1. Stock), Lehargasse 8, 1060 Wien
im Rahmen des Dezentralen Aktionstags für Bewegungsfreiheit und Bleiberecht am 10. Oktober 2008
Ausstellungsdauer: 10. Oktober bis 12. Oktober 2008,
Öffnungszeiten: 10:00 bis 18:00

The Department for (post)conceptual art at the Academy of Fine Arts Vienna is announcing the opening of an exhibition through a solidarity statement AGAINST Illegalization and FOR free movement and residency rights!

Opening on the 9th October 2008, 19:00 h Room M1 (1st floor), Lehargasse 8, 1060 Wien in the framework of the central action day for free movement and residency rights on the 10th October 2008 Duration of the exhibition: from 10th October until 12th October 2008

DOWNLOAD POSTER: 081009_PCAP_bleiberecht (image/gif, 73 KB)

>>>>> click to view more! for background information and participation (german/english)

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Academy of Fine Arts, Vienna
Class for Conceptual Art

2008/2009 guest lecture seminar on documentary film
OCTOBER 2008 and JANUARY 2009

Organized and presented by guest lecturer: Daniel Erlacher

Daniel Erlacher ist Musiker, Festivalveranstalter und Programmkurator des agit.DOC Dokumentarfilmprogramms im Forum Stadtpark Graz. Weiters ist er Initiator der Onlinecommunity g24.at und Labelbetreiber (widerstand.org). Seit 2005 ist er Mitglied des ProgrammForum Gremiums des Forum Stadtpark. Er war Co-Kurator des Film- und Musikprogrammes bei No Space Is Innocent im Steirischen Herbst 2006 und Mitbegründer des Elevate Festivals in Graz.

WHERE: Class for Conceptual Art, M1/ Semper depot, 1 floor
Semper depot: Lehargasse 8, Vienna


8.10.2008, Wednesday at 18.00 at M1/Semper depot

RFK Must Die (UK/2008)
Buch/Regie: Shane O'Sullivan; 94min; eng. OV.

5.Juni, 1968: Robert Kennedy gewinnt die Vorwahlen der Demokraten in Kalifornien und ist damit als Gegner von Richard Nixon als Präsidentschaftskandidat fix. Minuten später erfolgt der tödliche Anschlag des 24-jährigen Palästinensers Sirhan Sirhan. Sirhan kann sich jedoch bis heute nicht an die Schießerei erinnern - nicht einmal unter Hypnose. Führende PsychiaterInnen glauben er war ein "mandschurischer Kandidat", also hypnotisch programmiert um Kennedy zu töten. Neu entdeckte Film- und Photoaufnahmen zeigen drei altgediente mutmaßliche CIA Agenten am Tatort, dem Ambassador Hotel in Los Angeles - ein Indiz für die Beteiligung der CIA am Anschlag. Dieser hoch bristante investigative Dokumentarfilm, basierend auf O'Sullivan's jahrelangen Recherchen für die BBC und den britischen Guardian, zeichnet ein neues und verstörendes Bild des tragischen Ereignisses vor 40 Jahren.
Trailer: www.agit-doc.org

29. 10.2008, Wednesday at 18.00 at M1/Semper depot

American Blackout (USA/2006)
Buch/Regie: Ian Inaba; 92min; eng. OV.

Ein stilistisch gesehen sehr kämpferischer Dokumentarfilm, der den fesselnden Werdegang der US-Kongressabgeordneten Cynthia McKinney (Demokratin aus Georgia) und die Unterdrückung der schwarzen Wählerstimmen historisch und während der jüngsten Präsidentenwahlen in Florida und Ohio eingehend beleuchtet. Die neueste Produktion aus dem Hause der News-Community Guerrilla News Network gewann beim Sundance Festival 2006 einen Special Award der Jury und beeindruckt sowohl durch Stil als auch durch den brisanten Inhalt: Most people have heard of the voting irregularities that marred the presidential elections of 2000 and 2004. Some even know of the resulting challenges to the electoral votes by African-American congressional representatives. However, because the mainstream media shies away from reporting cases of imperiled democracy the public is left to believe these stories are at worst insignificant rumors or at best one-off incidents that result from an overburdened election system. American Blackout chronicles the recurring patterns of disenfranchisement witnessed from 2000 to 2004 while following the story of Georgia Congresswoman Cynthia McKinney, who not only took an active role in investigating these election debacles but also found herself in the middle of one after publicly questioning the Bush Administration about the 9-11 terrorist attacks. Some call Cynthia McKinney a civil rights leader among the ranks of Shirley Chisholm and Malcolm X. Others call her a conspiracy theorist and a 'looney.' American Blackout gains unprecedented access to one of the most controversial and dangerous politicians in America and examines the contemporary tactics used to control our democratic process and silence political dissent.
Mit besonderem Dank an Ian Inaba und gnn.tv!
Trailer: www.agit-doc.org

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Academy of Fine Arts, Vienna
Institute for Fine Arts
Department for Conceptual Art
In charge: Univ. Prof. Dr. Marina Grzinic
Assistants/tutors: Ivan Jurica and Ivana Marjanovic, Akbild

Writing Central European Art History

PUBLIC SEMINAR DATES: 24 and 25. November 2008 and 8. January 2009

Writing Central European Art History is a special seminar/course,
that was put together by ERSTE Stiftung and WUS with 7 academics/professors from the so called Central European art institutions and academies: Czech Republic, Estonia, Hungary, Poland, Serbian and Slovakia. It brings fresh inputs on academic art history and the perception on modernism and post-modernism in the former Eastern European territory.

(download folder: writing central european art history (application/pdf, 79 KB) )
(download texts: m1.antville.org)

PROGRAM 1 part, 24 and 25. 11. 2008

Monday, 24, November, 2008

  1. SESSION 15.30 until 20.30


AT 15.45 LECTURE by Edit András

download text: (application/msword, 42 KB)

Edit András, Senior Research Fellow, Research Institute for Art History of Hungarian Academy of Sciences, Budapest, Hungary

Title: One-way traffic, two-way traffic or a dead end? Dynamism of Contemporary Art Discourse in the East-West Relation

The author intends to shed light upon the shifts, gaps and discrepancies between mainstream art history writing and its Central European local, national variants focusing mostly on the period after the political changes. It would explore burning issues of what could be absorbed into the main debate, what remains invisible from outside, and how the border patrolling mechanism operates. Case-studies would be given of contemporary Hungarian artists like Little Warsaw, Andreas Fogarasi, Kriszta Nagy, Emese Benzcúr etc.

DISCUSSION 17.15 – 17.45/ facilitated by Grzinic and the tutors


AT 18.15 LECTURE by Vojtech Lahoda

download text: (application/msword, 77 KB)

Vojtech Lahoda, Deputy Director of the Institute of Art History of the Academy of Science of the Czech Republic. University Professor at the Charles University, Prague, Czech Republic

Title: Regional Cubism? How to write on Cubism in East Central Europe

The author's aim is to concentrate on the issue of Cubism outside Paris, especially in the region usually called East Central Europe. The discussion will deal with the question whether it is still valid to write about a homogeneous western born "Cubism", or whether we should think about different local and regional "Cubisms" within the territory of Central and Eastern Europe. The author proposes the term Regional Cubism for Cubist hybridization east of Paris and stresses international aspects of Cubist regionalism.

DISCUSSION 20.00 -20.30/ facilitated by Grzinic and the tutors

TUESDAY, 25 November 2008

  1. SESSION 9.30 until 14.00

AT 9.30 LECTURE by Ljiljana Blagojevic

download text: (application/msword, 46 KB)

Mart Kalm, Professor and Dean of the Faculty of Art and Culture Estonian Academy of Art, Tallinn, Estonia

Title: What is Estonian Architecture?

This presentation will discuss the establishment and formation of the Estonian architecture culture during the 20th century. From Finnish architects serving Estonian society before the first Estonian architects emerged to the Baltic-German and Estonian architects in inter-war Estonia-the course will explore Estonian interpretations of traditionalism and modernism. From there, the architecture of Soviet Estonia, with eyes in West but organization and rules from Moscow, is followed by the post-communist Estonian architecture – and is now dissolved in globalization?

DISCUSSION 13.30-14.00/ facilitated by Grzinic and the tutors


  1. SESSION 15.30 -18.00

AT 15.30 LECTURE by Misko Suvakovic

download text: (application/msword, 64 KB)

Misko Suvakovic, Professor of Aesthetics and Art Theory Faculty of Music, University of Arts, Belgrade, Serbia

Title: Politics and Art after the fall of the Berlin Wall

The author will point to the crucial changes that happened in society, philosophy and art after the fall of the Berlin Wall in 1989, and more precisely, after the end of the cold war division of the world. The era of postmodern social, cultural and artistic plurality was turned into a period of globalization and of restructuring of the social, political, cultural and artistic local-global relations. These processes are marked in art by a fundamental change in the media of artistic representation and expression, converting new media practices into the mainstream art of this epoch.

DISCUSSION 17.00 to 17.30/ facilitate by Grzinic and the tutors

PROGRAM 2 part, 8.01.2009

Thursday, 8, January 2009

AT 15.30 INTRODUCTION in II second final part by Marina Grzinic

AT 15.45 LECTURE by Jan Bakos

download text: (application/msword, 46 KB)

Jan Bakos, Member of Presidium of the Slovak Academy of Sciences Faculty of Letters, Comenius University Bratislava, Slovak Republic

Title: Humanists versus Relativists. Visions and Revisions of the Vienna School Methodological Doctrine

The Vienna School of Art History based art historical research on the belief in method and its scientific nature. The orthodox epistemological model of the Vienna School as formulated by Alois Riegl regarded art history as an exact and non-partial objective science. Riegl’s followers developed and transformed or critically revised his model. The present paper deals with the process of transformations and revisions of the Vienna School orthodox model.

DISCUSSION 17 to 17.30 facilitated by Grzinic and the tutors


AT 18.00 LECTURE by Piotr Piotrowski

download text: (application/msword, 76 KB)

Professor and Chair of Art History Piotr Piotrowski, Adam Mickiewicz University, Poznan, Poland

Title: Towards a Horizontal Art History

The author proposes a theory of a horizontal art history as both a critique of the vertical one, understood as hierarchical and Western oriented scholarly practice, as well as the proposed methodological approach to rewrite a history of modern art along with the pluralistic and non-hierarchical model. The model suggested here is based on an equality of different art historical narratives. Its crucial point is to negotiate different discourses, not in order to create one alternative super-structure, but rather to unveil a dynamic process of exchanging values between them.

DISCUSSION 19.30-20.00/ facilitated by Grzinic and the tutors

AT 20.00 end notes


PREPARATION INTO THE SEMINAR/COURSE Writing Central European Art History

28.10.2008 TUESDAY, Akbild, SEMPER depot/M1

At 16.00 until 19.00/20.00
Grzinic, Jurica and Marjanovic
NON PUBLIC STUDENT INTRO INTO THE SEMINAR: Writing Central European Art History, part 1
PUBLIC SEMINAR DATES are 24 and 25. November 2008 and 8. January 2009

On 28.10 2008 it will be a non public/i.e for students presentations of positions and texts by Edit András, Vojtech Lahoda, Ljiljana Blagojevic, Mart Kalm and Misko Suvakovic, with a resume of their basic points of departure, reading passages from their other texts published in English, commentaries.

29.10.2008 WEDNESDAY, M1

At 12.00 until 17.00
Grzinic, Jurica and Marjanovic
NON PUBLIC STUDENT INTRO INTO THE SEMINAR: Writing Central European Art History, part 2
PUBLIC SEMINAR DATES are 24 and 25. November 2008 and 8. January 2009

On 29.10 2008 it will be a non public/i.e for students presentations of positions and texts by Edit András, Vojtech Lahoda, Ljiljana Blagojevic, Mart Kalm and Misko Suvakovic, with a resume of their basic points of departure, reading passages from their other texts published in English, commentaries.

9.12.2008 TUESDAY, M1

At 16.00 until 19.00
Grzinic, Jurica and Marjanovic

NON PUBLIC STUDENT INTRO INTO THE SEMINAR: Writing Central European Art History, part 3
PUBLIC SEMINAR DATES are 24 and 25. November 2008 and 8. January 2009

On 9.12.2008 it will be a non public/i.e for students presentations of positions and texts by Jan Bakos and Piotr Piotrowski with a resume of their basic points of departure, reading passages from their other texts published in English, commentaries.

23.01.2009 in the RUNDGANG:
EXAM as a public discussion with the students enrolled in the course

Preparation of this presentation will be facilitated by Ivan Jurica and Ivana Marjanovic in the time from 11 to 17.01.2009.

FOR: applying for the seminar and questions contact please as well:

Ivan Jurica ivan_u72@hotmail.com

Ivana Marjanovic ivanamar@gmail.com

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Projects PCAP

Production of Knowledge
Public Art
Sense of Fear

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pictures of the rooms at theatercombinat

there are some pictures of the rooms at theatercombinat at the folder images...
i have to confess i did a bad job, not knowing what i do and not asking...
hopefully it is possible to get an impression of the rooms - if not, there ar more digital pictures on the computer (apple with two monitors) in the class and there will be analog pictures in the library (ask lilo)

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Articles on www.malmoe.org

Texts written for Malmoe #33 now online!

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Not Sheep: New Urban Enclosures and Commons

May 13 - 20, 2006
Opening Friday, May 12 at 8pm

233 Carrall Street  
Vancouver British Columbia  
Canada V6B 2J2  

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project intentions

the second tentative draft of project intentions for the “Not Sheep” exhibition ...

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as i told in the group, i am thinking to connect the radio-show to the trip to usti and dresten, as well to the trip to dacar (senegal) in may to the bienale of africa.

there is no exact structure of the radioshow planed right now, just ideas:

  • reading of the text made up on the topic (how public art funktions politically, in which role artist are forced...)

  • interviews recorded in usti, dresten and dacar.
    fragmentary put together to get an impression how internationally things happen.

  • fieldrecordings?

please post ideas and especially questions for the interviews.


  • how and where do public-artworks take place?
  • what is it like to meet kurators? the way of talking, do you get insight in their politician and the politics behind them?
  • what are the outcomes? (also regarding long-time outcomes)
  • how do you sense the city you live in as culturally growing city?

my formulations lack!
maybe somebody finds other questions or other formulations.


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platform _open project


//open project is the working title of a group project which is being developed by approx. 14 students of the post conceptual art practices class - academy of fine arts vienna//

proposal (english/german)
links and archive

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Today I was thinking the proposal text has ben here long enough now. who would like to read it again, is welcome to ask for it.

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David deleted the original text in a drunken rage, so here is hopefully something similar... click for more


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subject: SENSE OF FEAR in an expanded private
and/or public sense
projectproposal deadline: december 2. 2005
max. participants: 7

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a nice diagramm out of our first thoughts. here version 3.
download and change it and add 100 more lines or delete them all (.pdf, .doc) – die gedankenskizze zum runterladen und verändern.

tunnel1 (application/pdf, 26 KB)

tunnel (application/msword, 44 KB)

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disclaimer: dictatorial in the next passage means purely 'being of a manner that is dictated'.

We go in our little temporary community and subject ourselves to the law of the other, to a single controlling (dictatorial) entity.
In this instance our temporary community will be temporarily transformed into a temporary labour force and the controller/boss/leader/ruler (choose what's most appropriate) shall become (ruler) of our productivity and perhaps our ability to even engage in dialogue.
It is also very important to remember that this form is the basis for an experimental dialogue and as such might appear to be already shooting itself in the foot. How can we in the situation of having no voice, create a dialogue? This seems to be the central challenge of this proposal. How can the (ruling) figure maintain the (control framework) and also engage in a dialogue? Perhaps the most concrete proposal for this figure is that he/she has to maintain the position of being 'anti-dialogue', (somehow referencing the other idea.)
PROPOSAL IN PROPOSAL: perhaps it is also interesting to bring in an art-curator relationship by having the (ruling figure) be a curator.

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First Thoughts

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Questioning Entrance Exams

End of September is the time of the entrance exams for those who want to study in the field of art, in spite of Beuys. Trying to pass that exam for the Academy of Fine Arts Vienna, I wanted to know what my co-applicants were thinking about being obliged to go through that kind of examining procedure.

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