Class Susan Philipsz
Statement
In my class we explore creative ways of thinking about space. The aim of the course is to explore art by moving beyond the physical object to discover new situations that the work could exist within. Working from a variety of different practices, from sound, painting, sculpture, performance, and time-based media, we explore how site and context inform the meaning of the work. My students are encouraged to explore non-studio settings and to engage with different publics. We want to show how artworks relate to their context and how a change of context can create new meaning. I want the students to develop an understanding of the environment within which their work exists and is understood. Together I believe we can push the boundaries of what and where art can be.
Annual Exhibition
Radio International
Drive In
Brühlsche Terrasse,
HfBK Dresden
July 20/21, 24
Susan Philipsz with University of Fine Arts students and Hill52 radio of Glasgow School of Art
Presentation of the Radio International project
In a parked car in the inner courtyard of the Brühlsche Terrasse, audio works by students of the HfBK Dresden and the Glasgow School of Art, which they developed for an installation at Glasgow International (7.6.-23.6.24) in response to Jean Cocteau's film Orpheus (1950), were broadcasted by radio. Various recordings of pulsar stars could be heard as intervals between the works. During the annual exhibition, the film documentation of the Glasgow installation was shown on a flat screen in the entrance hall of the school.
Radio International will create both a sense of intimacy while also suggesting other locations and dimensions beyond our immediate surroundings. Radio International is an ongoing project previously manifested at Dresden University of Fine Arts, 2021, Manifesta 14 Prishtina, 2022 and Glasgow International, 2024
Annual Exhibition
Studio Pfotenhauerstr.,
HfBK Dresden
July 19-28, 24
Oleh Dmytruk, Alexander Wolframm, Isabell Alexandra Meldner, Patryk Kujawa, Hafssa Amina Codraro, Luca Diebold & Véra Marie Deubner, Li Kirnbauer, Alban Rosenberger, Antanas Jacinevicius, Artemis Panagiotidou, Richard Laber, Claus Schöning
Lecture
Aktsaal, HfBK Dresden
June 19, 24
5pm
Carolyn Christov-Bakargiev
On the concept of artistic freedom: arte povera as a state of mind.
The internationally renowned exhibition maker Carolyn Christov-Bakargiev will talk about her forthcoming exhibition Arte Povera at the Bourse de Commerce Pinault Collection in Paris. She will also introduce previous projects from her time as director of Castello di Rivoli in Turin and her groundbreaking dOCUMENTA (13) in Kassel. This will be followed by a conversation with Susan Philipsz tracing topics and themes they have cultivated since they first met at P.S.1 Contemporary Arte Center – A MoMA Affiliate in New York in 2000.
Exhibition
Glasgow International Festival of Art,
King Street car park, Glasgow
7th—23th June 2024
Wed-Sun, 2pm-6pm
Susan Philipsz with University of Fine Arts students and Hill52 radio of Glasgow School of Art
Radio International is a series of radio transmitted sound works that are broadcast to a car radio in Glasgow city centre. Initiated by artist Susan Philipsz, the project is a collaboration between students from Dresden University of Fine Arts and Glasgow School of Art.
The starting points for Radio International are Guglielmo Marconi’s suggestion that sounds once generated never die – they fade, but they continue to reverberate as sound waves across the universe and Jean Cocteau’s film Orpheus from 1950 where the main protagonist is obsessed with the coded messages and abstract poems that are transmitted from an unknown station to his car radio. Students from Dresden University of Fine Arts and Glasgow School of Art have engaged with these materials to produce unique sound works designed for broadcast.
While most transmission art is made to be experienced at home or from a private location the artists here have produced transmissions designed to be experienced from a car that was driven from Dresden to Glasgow and that is parked in King Street car park in Glasgow city center.
Acting as an interval between each of the students' works we hear fragments of recordings of neutron stars or pulsars. As a rotating neutron star spins it emits radio waves from each pole, sending powerful flashes of radio waves across space. The sounds evokes distance and the immensity of outer space and add another dimension to the project.
Radio International will create both a sense of intimacy while also suggesting other locations and dimensions beyond our immediate surroundings. Radio International is an ongoing project previously manifested at Dresden University of Fine Arts, 2021, and Manifesta 14 Prishtina, 2022.
Lecture & Film Screening
Hörsaal, HfBK Dresden
17.01.24
6pm Lecture
8pm Screening*
Stefan Panhans and
Andrea Winkler
Short visit to
Klasse expanded cinema
Oct 25,'23
HGB Leipzig
Class Susan Philipsz
Class expanded cinema
We visited and joined the class meeting of Klasse expanded cinema of Prof. Clemens von Wedemeyer at HGB Leipzig. Students of both classes presented their recent works and projects. We had a quick tour through the school and onto the schools roof where another class was realizing a project. The Wedemeyer students cooked for us a wonderful risotto. Prior to the meeting we had a quick tour through MdbK Leipzig.
Taking Place -
Annual Exhibition
July 14-July 23,'23
Pfote HfBK Dresden
Mona Freudenreich, Franz Eggerichs, Rebecca Rudolf, Alen Bichler, Oleh Dmytruk, Jonas Freudenberger, Alexander Wolframm, Isabell Alexandra Meldner, Nicolai Leicher, Blanca Hiemstra, Patryk Kujawa, Hafssa Amina Codraro, Yoonyoung Bae, Luca Diebold, Radio International, Li Kirnbauer, Julien Vogel + Ann Marie Naiderek, Alban Rosenberger
The exhibition explores creative ways of thinking about space. Artworks and performances are taking place at the garden area, the class' studio, the 3d workshop and in-between spaces. The exhibition shows a variety of different practices, from sound, painting, sculpture, performance, and time-based media and explores how site and context inform the meaning of the works.
On Not Knowing -
How Artists Teach
Conference / Excursion
8.6.-11.6.23
Glasgow School of Art
Susan Philipsz & Class Philipsz
Some students of the class visited the conference On Not Knowing: How Artists Teach at The Glasgow School of Art convened in partnership with Uniarts Helsinki’s Academy of Fine Art. Susan Philipsz was invited as the keynote speaker. The On Not Knowing: How Artists Teach conference shared and explored the various approaches, methods and understandings of artists who teach in the field of higher education and beyond.
"The not knowing is crucial to art, is what permits art to be made. Without the scanning process engendered by not knowing, without the possibility of having the mind move in unanticipated directions, there would be no invention." (Donald Barthelme, Not-Knowing, 1997)
Lecture & Film Screening
Hörsaal, HfBK Dresden
7.6.23
3pm Lecture
5pm Screening*
Omer Fast
Workshop
Studio Class Philipsz, HfBK Dresden
5.–6.4.23
Irina Gheorghe
Irina Gheorghe works primarily with performance, in combination with installation, collage, photography or video, to address the tensions inherent in the attempts to speak about things inaccessible to observation, from extraterrestrial life to hypothetical planets. Her work explores techniques of deviation as a way of estranging the everyday, abstraction as a language for interstellar communication and the absurd as the possible mood of engaging with a world beyond perception.
Irina also works as part of the artist duo The Bureau of Melodramatic Research, co-founded in 2009 together with Alina Popa (1982-2019) to investigate how passions shape contemporary society. Irina also performs with the Psychedelic Choir.
Recent solo exhibitions include Things Which Are Not Here, of Which We Cannot Say at Ivan Gallery Bucharest (2022), Methods for the Study of What Is Not There at Künstlerhaus Bremen (2021), Betraying the Senses, or How to Speak of What Is Not There at Project Arts Centre Dublin (2022) and All the Things Which Are Not Here at Swimming Pool Sofia (2019). Recent Bureau solo shows include Heartbeat Detection Systems at Suprainfinit Gallery and The Internal Fire at Goethe-Institut (both Bucharest, 2022). Selected group shows include Grazer Kunstverein, Salonul de Proiecte Bucharest, National Museum of Contemporary Art Bucharest, CCA Derry, Glasgow International, TRAFO Budapest, Pratt Manhattan Gallery New York, Times Museum Guangzhou, HOME Manchester, etc.
Lecture
Studio Class Philipsz, HfBK Dresden
18.1.23
Sandra Teitge
Sandra Teitge is a curator, programmer, and sporadic performer born in East Berlin in the 1980s. She is the Head of Public Program and Curator at CCA Berlin – Center for Contemporary Arts. Teitge organizes exhibitions and programs at the intersection of contemporary art, architecture and design, often in urban and commercial spaces. Her recent curatorial projects include an investigation into gossip in Berlin’s urban space, the nGbK project Art in the Underground; a podcast for the ifa gallery Berlin, the exhibition and the associated program Wild Frictions. The Politics and Poetics of Interruption at CAC Cincinnati and Kunstraum Kreuzberg/Berlin; New Nature Vitrines, a film program for shop windows in Berlin, Montreal and New York; and Quarantine Choir, a series of audio performances.
In 2018/19 Teitge was director of the Goethe Pop Up Minneapolis Goethe in the Skyways; in 2014, she founded the residency program FD13 in Saint Paul, MN/U.S., which now runs independently of her. Teitge studied art and visual history (MA) at the Humboldt University and the Berlin University of the Arts, as well as Media Studies and French (BA) at the University of Sussex in Brighton, UK, and at the Nouvelle Sorbonne in Paris, France.
Live Performance
Studio Class Philipsz, HfBK Dresden
14.12.22
A SYMPHONY OF HORROR
in collaboration with Ari Benjamin Meyers
with individual performances by Yoonyoung Bae, Amina Codraro, Luca Diebold, Ronja Sommer and films, works and interventions by Mona Freudenreich, Patryk Kujawa, Richard Laber, Mia Heidler, Julien Vogel
‚A SYMPHONY OF HORROR‘ is a live performance to mark the centenary of the classic movie ‚Nosferatu – Eine Symphonie des Grauens‘ by F.W. Murnau (1922)
In collaboration with composer and artist Ari Benjamin Meyers, students of the Susan Philipsz class have developed a collective performance in which individual performances and artistic works are embedded.
Excursion
Gallery tour, Berlin
16.11.22
Class Susan Philipsz
Workshop
Studio Class Philipsz, HfBK Dresden
Okt/Nov/Dec '22
Ari Benjamin Meyers
Ari Benjamin Meyers (b. 1972, USA) lives and works in Berlin. Meyers received his training as a composer and conductor at The Juilliard School, Yale University, and Peabody Institute. Trading the concert format for that of the exhibition, his widely exhibited works – such as Kunsthalle for Music (2018), Symphony 80 (with the Bavarian Radio Symphony Orchestra) and Solo for Ayumi (both 2017) – explore structures and processes that redefine the performative, social, and ephemeral nature of music as well as the relationship between performer and audience. His diverse practice features performances for the stage and for exhibition spaces as well as three operas including a commission for the Semperoper Dresden, a ballet for the Paris Opera, and the experimental music- theater work Forecast for the Volksbühne Berlin.
Talk & Round Table Discussion
Aktsaal, HfBK Dresden
19.10.22
Susan Philipsz & Radio International Collective,
Prof. Dr. Frédéric Bußmann (Kunstsammlungen Chemnitz)
Maria Isserlis (Staatliche Kunstsammlungen Dresden)
Donjete Murati (Center for Narrative Practice)
Presentation of the project Radio International for Manifesta 14 and round table discussion at HfBK Dresden
Exhibition
Manifesta 14,
Pristina, Kosovo
22.7.–30.10.22
Susan Philipsz & Radio International Collective
The interconnection of sounds across time and space has been the inspiration for several works by Susan Phillipsz, among them the collective project Radio International, whose project comprises a series of radio-transmitted sound works.
The modular K67 kiosk was designed by Slovenian architect Saša J. Mächtig. It was marketed from the late 1960s onwards as “the right point of meeting”. Its popularity extends across eastern and central Europe all the way to New York, where it is part of the collection of the Museum of Modern Art.
Inscribed in cultural memory, the once ubiquitous model has become a rare sight on the streets of Prishtina. To halt the tide of dereliction and disappearance, Ilir Dalipi has restored and repurposed one of the last remaining kiosks in town. Influenced by tactical urbanism, which proposes swift and small-scale solutions to larger problems, the architect and urbanist seeks to inspire others to follow his example.
During Manifesta 14 Prishtina, the K67 will host Radio International, an intervention by sound artist Susan Philipsz in collaboration with a collective of students from Kosovo and abroad. Later on, Dalipi intends for the kiosk to become a museum for other everyday design objects, similarly rescued from oblivion.
Talk
Center for Narrative Practice,
Pristina, Kosovo
23.7.22
Susan Philipsz & Radio International Collective
Prof. Susan Philipsz and students from the University of Fine Arts (HfBK) Dresden in collaboration with students from the Faculty of Philosophy at Universiteti i Prishtinës spoke about their project Radio International developed for Manifesta 14 at the Center for Narrative Practice in Pristina. Radio International is a series of radio transmitted sound works broadcast from the 9th floor of the Grand Hotel Prishtina to a restored Saša J. Mächtig K67 kiosk on Zahir Pajaziti Square in the center of Prishtina.
Lecture
Aktsaal HfBK, Dresden
12.5.22
Joanna Warsza
Biennales and biennales.
Among the three hundred biennials in the world, there are biennales and biennales. Those second ones ‒ such as Autostrada Biennale in Kosovo ‒ are more valuable to look at and work with from a critical, curatorial perspective. These have been called Biennales of Resistance by the political scientist Oliver Marchart and many have originated in the Global South such as the early Havana Biennial 1978, the Gwangju Biennale after the democratic uprising in South Korea in 1980, the short-lived Johannesburg Biennale after the end of apartheid in 1994, or the Istanbul Biennale after the 1980 military intervention in Turkey. Some of their aims were to de-westernize the art canon, decenter cartographies, shake legitimized institutional art, or create counter-hegemonic models. Starting with Kosovo but also making a detour to Venice we will also speak about how the language of contemporary art can be a form of resilience and recovery.
Joanna Warsza, is an interdependent curator, editor and educator. Currently a co-curator of the Polish pavilion at the 59. Venice Biennale, with the work of Polish-Romani artist Malgorzata Mirga-Tas. She is also co-curator, with Ovul O. Durmusoglu of the 3rd and 4th Autostrada Biennale in Kosovo (2021, 2023) and a program director of CuratorLab at Konstfack University in Stockholm.
Lecture + Film Screening
Hörsaal HfBK, Dresden
9.12.21
Tom McCarthy
Tom McCarthy's passionate interest in early radio and film have coincided with our programmes 'Radio International' and 'The Cinematic' and prompted us to invite Tom to speak to the students here in Dresden.
Tom McCarthy was born in 1969 and grew up in London. He has published numerous stories, essays and articles on literature, philosophy and art. Two of his novels have been shortlisted for the prestigious Booker Prize. His most recent work The Making of Incarnation (2021) was launched in Kunst Werke in Berlin recently. His first Booker Prize shortlisted novel 'C' (2010) is an exploration of early radio, call-signs and crackle. He describes the main protagonist "flying around in a WW1 plane dosed up on morphine sending radio messages with lines of Hölderlin crackling through his head to the rhythm of machine guns..." McCarthy's debut novel Remainder (2005) was the source for the artist and filmmaker Omar Fast, culminating in Fast's first feature length film also titled Remainder (2015). His ongoing project the International Necronautical Society is a semi-fictitious avant-garde network that surfaces through publications and live events. In 2003 they broke into the BBC website and inserted propaganda into its source-code. The following year, they set up a broadcasting unit at the Institute of Contemporary Art in London from which more than forty ‘agents’ generated non-stop poem-codes which were transmitted over FM radio in London and by internet to collaborating radio stations around the world.
Tom McCarthy will discuss his practice as a writer, his interest in art, film and radio and in particular the relationship between his radio project at the ICA and Jean Cocteau's film Orpheus (1950) and afterwards in the format of The Cinematic talk series we will enjoy a screening of Orpheus in the Hörsaal in Güntzstraße.
Exhibition + Workshop
Senatsaal HfBK, Dresden
28.–29.10.21
Alisa Omelianceva, Li Kirnbauer, Franz Eggerichs, Claus Schöning, Rebecca Rudolf, Patryk Kujawa, Isabell Alexandra Meldner, Richard Laber, Maria Heidler, Mona Sophia Freudenreich, Yoonyoung Bae, Stefan Kovacevic, Nicolai Leicher, Annalena Maria Bichler, Oleh Dmytruk, Anna Prokofveja, Yeonwoo Chang, Alexander Wolframm, Hafssa Amina Codraro
Radio International is a series of radio transmitted sound works that explore the medium of radio and respond to the particular acoustics of the Senatsaal.
Guglielmo Marconi, the pioneer of radio, suggested that sounds once generated never die, they fade but they continue to reverberate as sound waves across the universe. I found this to be an extremely evocative idea and has been the inspiration for the class project Radio International.
At the start of this years winter semester we began by delving into the world of analogue radio. We explored various radio archives and studied works by artists that were designed for transmission, culminating in a radio workshop in the Senatsaal of the HfBK Brühlsche Terrasse. Each student has engaged in their own way with the material to produce a unique sound work that has been designed for transmission. While most transmission art is made to be experienced at home or from a private location we set out to produce transmissions that would be experienced as sound installations in the Senatsaal.
Working with the particular architecture and acoustics of the Senatsaal the sound works resonate with their environment to create an immersive transmission experience.
Exhibition
Brühlsche Terrasse HfBK, Dresden
24.–25.07.21
Lorenz Reinsch, Annalena Bichler, Nicolai Leicher, Thea Reuhling, Mona Freudenreich, Claus Schöning, Rebecca Rudolf, Oleg Dmytruk, Isabell Meldner, Patryk Kujawa, Jesus Diaz, Yeonwoo Chang, Yoonyoung Bae
The Sixth Sense was an exhibition of students work that took place throughout the public areas of the Brühlsche Terrace. The projects were comprised of interventions in the courtyard, the entrance passageways, the stairwells and many other oblique but interesting spaces.
The impulse of the exhibition was to move beyond the designated gallery spaces of the Brühlsche Terrace and to explore the architecture, character and potential of other spaces throughout the building. Each of these places have been chosen by the students for a particular reason and encouraged the visitor to experience the place in a new way. Rooms became eerie, the acoustics were activated and drew your attention to the architecture, or the context was almost entirely obliterated in order to draw the eye inwards.
The title The Sixth Sense refers to those experiences that cannot be attributed to any one of the five senses. The Sixth Sense exhibition aimed to explore the extra sensory power of contemporary art.
Lecture + Film Screening
Aktsaal HfBK, Dresden
20.1.21
Pauline Curnier Jardin
Pauline Curnier Jardin is an artist and filmmaker who lives and works in Amsterdam and Berlin. In 2015/16 she completed a residency at the Rijksakademie van Beeldende Kunsten, Amsterdam. In 2017 her installation Grotta Profunda Appronfundita was display at the 57th Venice Biennale and she presented a screening of her film works at the Tate Modern in London. Also in 2017 she was nominated for the Prix Fondation d’Entreprise Ricard and won the Dutch NN Group Art Award. In 2019 Pauline Curnier Jardin won the prestigious Preis der Nationalgalerie and her solo exhibition will be held at the Hamburger Bahnhof in Berlin this spring. Other solo and group exhibitions include Schirn Kunsthalle Frankfurt, Performa 15, New York, The Cartier Foundation, Paris, The Migros Museum of Contemporary Art, Zurich, MIT List Visual Arts Center, Cambridge, Massachusetts, Haus der Kulturen der Welt, Berlin, Palais de Tokyo, Paris, Musée d’Art Moderne, Paris and ZKM Museum of Contemporary Art, Karlsruhe.
Pauline will present Ted Kotcheff’s 1971 film Wake in Fright.
Lecture + Film Screening
Aktsaal HfBK, Dresden
6.1.21
Luke Fowler
Luke Fowler is an artist, filmmaker and musician based in Glasgow. He studied at the Duncan of Jordanstone College of Art in Dundee. His work explores the limits and conventions of biographical and documentary film-making and often takes the form of a film portrait of an individual or movement that lies beyond the mainstream. As well as portraits of musicians and composers he has also made films and installations that deal with the nature of sound and of listening. His work has been said to echo the British Free Cinema movement of the 1950’s.
Luke received the inaugural Derek Jarman Award in 2008 and was shortlisted for the Turner Prize in 2012. He has had solo exhibitions in the Serpentine in London. Nasher Sculpture Center, Dallas, Lismore Castle Ireland, Kunsthal Charlottenborg, Copenhagen, Institute of Modern Art, Brisbane and Kunsthalle Zürich. Solo screening and group exhibition at MOMA in New York and group exhibitions at Schirn Kunsthalle, Frankfurt and the Secession in Vienna. In 2000 he established Shadazz, an art music label based in Glasgow. Luke is represented by the Modern Institute in Glasgow, Galerie Gisela Capitain, Cologne, Taka Ishii Gallery, Tokyo.
Luke Fowler will present British director Margaret Tait’s 1992 film Blue Black Permanent.
Lecture + Film Screening
Aktsaal HfBK, Dresden
16.12.20
Clemence von Wedemeyer
Film is a medium and the cinema is a space and if there is an artist who really explores cinema as a space; a real space that also has a relationship to public space then it is Clemens von Wedemeyer.
Clemens von Wedemeyer was born in 1974 in Göttingen, Germany and currently lives and works in Berlin. The artist and filmmaker studied photography and media at the Fachhochschule Bielefeld and the Academy of Fine Arts Leipzig where he now holds a professorship with the title Expanded Cinema, which is very interesting for our programme.
Wedemeyer has participated in many of the same large exhibitions such as the 4th Berlin Biennale (2006), Skulptur Projekte Münster (2007), the 16th Biennale of Sydney (2008) and dOCUMENTA (13) (2012). He had solo shows at MoMA PS1, New York, Frankfurter Kunstverein, the Barbican Art Centre, London, MCA Chicago, and the Hamburger Kunsthalle.
Clemens von Wedemeyer will present the 1999 film by Canadian director David Cronenberg ‘EXistenZ’
Lecture + Film Screening
Aktsaal HfBK, Dresden
2.12.20
Anri Sala
Anri Sala's immersive and cinematic works are constructed through multiple relationships between music and sound, architecture and film, interleaving qualities of different media to produce works in which one medium takes on the qualities of another.
Anri Sala was born in 1974 in Tirana, Albania. He lives and works in Berlin, Germany. Anri was educated at the National Academy of Arts, Tirana; at the Ecole Nationale Supérieure des Arts Décoratifs in Paris; and undertook studies in Film Directing, Le Fresnoy, Studio national des arts contemporains, Tourcoing. Anri Sala is a recipient of the Vincent Award (2014), the Mario Merz Prize (2014), the 10th Benesse Prize (2013). He won the Absolut Art Award in 2011, and the Young Artist Prize at the Venice Biennale (2001)
Sound and acoustics are very important in Anri Sala's film works. In an early piece 'Naturalmystic (Tomahawk #2)' from 2002 an actor from Belgrade sits in a darkened recording studio, vocally simulating the sound of missiles falling from above. Sound and space are explored in works 'The Present Moment' at Haus des Kunst where the tones of an Arnold Schonberg composition travel through the space. His ability to direct an image with a sound is evident in 'Take Over' at Esther Schipper where the musical progression directs the focus pull of the film. The sound is an active element in the construction of the film. There is also a mobile cinematic quality to the experience walking through 'As You Go' at the Castello di Rivoli, Turin, Italy in 2019 where individual works are arranged into an ensemble with films doubled on multiple screens arranged in a round.
As part of his contribution to The Cinematic film club Anri Sala will introduce the film 'Out of the Present', 1995 by Andreï Ujicā
Lecture + Film Screening
Aktsaal HfBK, Dresden
19.11.20
Rosa Barba
Rosa Barba is a German-Italian artist and filmmaker who was born in Agrigento, Sicily in 1972 and is now based in Berlin. Barba is known for working with the medium of film and its materiality to create cinematic film installations, sculptures and publications, which explore the ambiguous nature of landscape, time and memory. Because of the experiential nature of her installations and their rootedness in the cinematic experience she is an especially important artist for us to have here in Dresden.
Rosa Barba studied at the The Academy of Media Arts in Cologne and at the Rijksakademie in Amsterdam. She has undertaken residencies at IASPIS in Stockholm, the Chinati Foundation in Marfa and Artpace in San Antonio, Texas. She currently hold a Professorship in Fine Arts at the Hochschule für Künste Bremen. Barba has participated in the 52nd and 53rd and 56th Venice Biennale. She has had solo exhibitions in Pirelli Hangar Bicocca in Milan, the Malmö Konsthall in Sweden, The Albertinium in Dresden, the Reina Sofía in Madrid, Tate Modern in London and the MIT List Visual Arts Centre in Massachusetts
Since 2004 Barba has been publishing a series of printed editions, titled Printed Cinema, in conjunction with her film installations. These documents can include research material, essays and unused filmic fragments to explore the themes of each project. The materiality and temporality of film and the spatial configurations of the exhibition, the cinematic experience of the viewer can be dismantled and expressed in a parallel medium.
As part of her contribution to The Cinematic film club Rosa Barba will introduce the film Daughters of the Dust, 1991 produced and directed by Julie Dash.
Lecture + Film Screening
Aktsaal HfBK, Dresden
4.11.20
Tamar Guimarães
Tamar Guimarães was born in Belo Horizonte, Brazil, in 1967. She received a BA in Fine Arts from Goldsmiths College, London in 2002 and an MFA from Art Academy Malmö, Sweden in 2007. She also has an MA in art theory awarded in 2009 by the Royal Danish Academy of Fine Arts in Copenhagen. She participated in the Whitney Independent Study Program, New York, as a Studio Fellow from 2007–08.
Guimarães’s body of work in video, sound, and installation uses found and manufactured elements to question dominant histories of modernism. She manipulates appropriated imagery with an intensity that mimics sociological method and questions the staging of history, revisiting neglected figures and events in order to elucidate current social and political issues. She’s also involved in the organization of small, intimate gatherings, collective readings, small-scale public talks and film screenings, invested on the possibilities of creating transient micro-communities and minor public events.
She has exhibited her work at the 55th and again in the 56th Venice Biennale, the 31st São Paulo Biennale, The Guggenheim in New York, LACMA in Los Angeles, the South London Gallery, London, the Palais de Tokyo in Paris and the Haus der Kulturen der Welt, in Berlin as well as the Fundación Jumex Arte Contemporáneo, Mexico City and the Garage Museum of Contemporary Art, Moscow. Her work can currently be seen at The Renaissance Society in Chicago as part of the exhibition Nine Lives.
After her talk there will be a screening of Patrick Keiller's film "London", 1994.
Lecture + Film Screening
Aktsaal HfBK, Dresden
21.10.20
Declan Clarke
Declan Clarke was born in Dublin in 1974. He studied at the National College of Art and Design, Dublin, and Chelsea College of Arts, London. He works predominately in the medium of film. In 2002 he was awarded the PS1 MoMA International Residency Program in New York and in 2012 he was short listed to represent Ireland at the Venice Biennale 2013. His work explores political themes and their representation in film and television
For his exhibition, ‘Loneliness in West Germany’, at the Goethe-Institut in Dublin, he examined the activities and legacy of the Movement June 2nd, an anarchist group closely associated with the Red Army Faction, founded in Berlin in 1971.
His film ‘Group Portrait with Explosives’, 2014 connects the early history of Czechoslovakian tractor production with his own family history in rural South Armagh, it’s notorious IRA Brigade, and the invention of the plastic explosive Semtex in the former Czechoslovakia.
He is an unabashed connoisseur of eastern European film culture. From Russian anti-war films to new wave of Romanian cinema. Today he will talk to you about his own work and he will introduce the movie he has chosen The Saragossa Manuscript (1965) by Wojciech Jerzy Has
Lecture + Film Screening
Aktsaal HfBK, Dresden
7.10.20
James Richards
‘The Cinematic; Film and Memory in Contemporary Art’ was a series of talks that explored immersive experiences in art, sound and film. We set out to explore the influence feature films have on contemporary art and to see how film can be used as a medium to explore memory and the passage of time. We wanted to look at the cinematic as both an architectural and communal space where darkness, immersion and projection were key features and as a psychological state of mind that allowed us to explore memory and imagination. While we were discussing the cinematic it was important to emphasize that, film is a medium and the cinema is a space. And it was this space that guided our thinking throughout this semester.
James Richards was born in Cardiff and studied Fine Art at Chelsea School of Art and Design, London but now lives and works in Berlin. In 2012 he received the Derek Jarman Award and in 2014/15 the ars viva award. In 2013 James was a guest of the Berlin artist program / DAAD. In 2014 he was nominated for the Turner Prize and in 2017 he represented Wales at the 57th Venice Biennale. Richards works with moving image, installation and sound. He works by mixing disparate material compiled from feature films, YouTube clips, his own footage and other moving imagery sourced online. Richard's video collages refuse conventional patterns of narritive or linearity and rely on the emotional pull of the suggestive power that unfolds in the combination of images, music and language.
James Richards will introduce his own work and afterwards the movie he has chosen Todd Haynes’ Safe (1995)
Lecture
Aktsaal HfBK, Dresden
7.10.20
Ariane Beyn
Ariane Beyn grew up in Hamburg and studied art history in Munich and Berlin. From 2006 2007 she was guest curator at the CCA Wattis Institute for Contemporary Arts in San Francisco. In 2008 she was the artistic Director of the first Berlin art fair ABC (art berlin contemporary). From 2008 until 2018 Beyn was head of the visual arts department at the DAAD and directror of the daadgalerie in Berlin. Since the DAAD she has returned to her role as an independent curator and has just opened her most recent exhibition Readings From Below at the Times Art Centre in Berlin during the Berlin Art Week.
The main reason we have invited Ariane Beyn to the school is because in 2012 the daad galerie in Berlin hosted the "Agency for Unrealized Projects" (AUP) a project by e flux and The Serpentine Gallery in London. The "Agency for Unrealized Projects" grew out of the publication "Unrealised Projects 107 Unbuilt Roads" by Hans Ulrich Obrist and Guy Tortosa which was the model for our previous semester.
Ariane will talk to you about her work and then to look at some of your projects.
Impressum
Class Susan Philipsz
Statement
In my class we explore creative ways of thinking about space. The aim of the course is to explore art by moving beyond the physical object to discover new situations that the work could exist within. Working from a variety of different practices, from sound, painting, sculpture, performance, and time-based media, we explore how site and context inform the meaning of the work. My students are encouraged to explore non-studio settings and to engage with different publics. We want to show how artworks relate to their context and how a change of context can create new meaning. I want the students to develop an understanding of the environment within which their work exists and is understood. Together I believe we can push the boundaries of what and where art can be.
Annual Exhibition
Radio International
Drive In
Brühlsche Terrasse,
HfBK Dresden
July 20/21, 24
Susan Philipsz with University of Fine Arts students and Hill52 radio of Glasgow School of Art
Presentation of the Radio International project
In a parked car in the inner courtyard of the Brühlsche Terrasse, audio works by students of the HfBK Dresden and the Glasgow School of Art, which they developed for an installation at Glasgow International (7.6.-23.6.24) in response to Jean Cocteau's film Orpheus (1950), were broadcasted by radio. Various recordings of pulsar stars could be heard as intervals between the works. During the annual exhibition, the film documentation of the Glasgow installation was shown on a flat screen in the entrance hall of the school.
Radio International will create both a sense of intimacy while also suggesting other locations and dimensions beyond our immediate surroundings. Radio International is an ongoing project previously manifested at Dresden University of Fine Arts, 2021, Manifesta 14 Prishtina, 2022 and Glasgow International, 2024
Annual Exhibition
Studio Pfotenhauerstr.,
HfBK Dresden
July 19-28, 24
Oleh Dmytruk, Alexander Wolframm, Isabell Alexandra Meldner, Patryk Kujawa, Hafssa Amina Codraro, Luca Diebold & Véra Marie Deubner, Li Kirnbauer, Alban Rosenberger, Antanas Jacinevicius, Artemis Panagiotidou, Richard Laber, Claus Schöning
Lecture
Aktsaal, HfBK Dresden
June 19, 24
5pm
Carolyn Christov-Bakargiev
On the concept of artistic freedom: arte povera as a state of mind.
The internationally renowned exhibition maker Carolyn Christov-Bakargiev will talk about her forthcoming exhibition Arte Povera at the Bourse de Commerce Pinault Collection in Paris. She will also introduce previous projects from her time as director of Castello di Rivoli in Turin and her groundbreaking dOCUMENTA (13) in Kassel. This will be followed by a conversation with Susan Philipsz tracing topics and themes they have cultivated since they first met at P.S.1 Contemporary Arte Center – A MoMA Affiliate in New York in 2000.
Exhibition
Glasgow International Festival of Art,
King Street car park, Glasgow
7th—23th June 2024
Wed-Sun, 2pm-6pm
Susan Philipsz with University of Fine Arts students and Hill52 radio of Glasgow School of Art
Radio International is a series of radio transmitted sound works that are broadcast to a car radio in Glasgow city centre. Initiated by artist Susan Philipsz, the project is a collaboration between students from Dresden University of Fine Arts and Glasgow School of Art.
The starting points for Radio International are Guglielmo Marconi’s suggestion that sounds once generated never die – they fade, but they continue to reverberate as sound waves across the universe and Jean Cocteau’s film Orpheus from 1950 where the main protagonist is obsessed with the coded messages and abstract poems that are transmitted from an unknown station to his car radio. Students from Dresden University of Fine Arts and Glasgow School of Art have engaged with these materials to produce unique sound works designed for broadcast.
While most transmission art is made to be experienced at home or from a private location the artists here have produced transmissions designed to be experienced from a car that was driven from Dresden to Glasgow and that is parked in King Street car park in Glasgow city center.
Acting as an interval between each of the students' works we hear fragments of recordings of neutron stars or pulsars. As a rotating neutron star spins it emits radio waves from each pole, sending powerful flashes of radio waves across space. The sounds evokes distance and the immensity of outer space and add another dimension to the project.
Radio International will create both a sense of intimacy while also suggesting other locations and dimensions beyond our immediate surroundings. Radio International is an ongoing project previously manifested at Dresden University of Fine Arts, 2021, and Manifesta 14 Prishtina, 2022.
Lecture & Film Screening
Hörsaal, HfBK Dresden
17.01.24
6pm Lecture
8pm Screening*
Stefan Panhans and
Andrea Winkler
Short visit to
Klasse expanded cinema
Oct 25,'23
HGB Leipzig
Class Susan Philipsz
Class expanded cinema
We visited and joined the class meeting of Klasse expanded cinema of Prof. Clemens von Wedemeyer at HGB Leipzig. Students of both classes presented their recent works and projects. We had a quick tour through the school and onto the schools roof where another class was realizing a project. The Wedemeyer students cooked for us a wonderful risotto. Prior to the meeting we had a quick tour through MdbK Leipzig.
Taking Place -
Annual Exhibition
July 14-July 23,'23
Pfote HfBK Dresden
Mona Freudenreich, Franz Eggerichs, Rebecca Rudolf, Alen Bichler, Oleh Dmytruk, Jonas Freudenberger, Alexander Wolframm, Isabell Alexandra Meldner, Nicolai Leicher, Blanca Hiemstra, Patryk Kujawa, Hafssa Amina Codraro, Yoonyoung Bae, Luca Diebold, Radio International, Li Kirnbauer, Julien Vogel + Ann Marie Naiderek, Alban Rosenberger
The exhibition explores creative ways of thinking about space. Artworks and performances are taking place at the garden area, the class' studio, the 3d workshop and in-between spaces. The exhibition shows a variety of different practices, from sound, painting, sculpture, performance, and time-based media and explores how site and context inform the meaning of the works.
On Not Knowing -
How Artists Teach
Conference / Excursion
8.6.-11.6.23
Glasgow School of Art
Susan Philipsz & Class Philipsz
Some students of the class visited the conference On Not Knowing: How Artists Teach at The Glasgow School of Art convened in partnership with Uniarts Helsinki’s Academy of Fine Art. Susan Philipsz was invited as the keynote speaker. The On Not Knowing: How Artists Teach conference shared and explored the various approaches, methods and understandings of artists who teach in the field of higher education and beyond.
"The not knowing is crucial to art, is what permits art to be made. Without the scanning process engendered by not knowing, without the possibility of having the mind move in unanticipated directions, there would be no invention." (Donald Barthelme, Not-Knowing, 1997)
Lecture & Film Screening
Hörsaal, HfBK Dresden
7.6.23
3pm Lecture
5pm Screening*
Omer Fast
Workshop
Studio Class Philipsz, HfBK Dresden
5.–6.4.23
Irina Gheorghe
Irina Gheorghe works primarily with performance, in combination with installation, collage, photography or video, to address the tensions inherent in the attempts to speak about things inaccessible to observation, from extraterrestrial life to hypothetical planets. Her work explores techniques of deviation as a way of estranging the everyday, abstraction as a language for interstellar communication and the absurd as the possible mood of engaging with a world beyond perception.
Irina also works as part of the artist duo The Bureau of Melodramatic Research, co-founded in 2009 together with Alina Popa (1982-2019) to investigate how passions shape contemporary society. Irina also performs with the Psychedelic Choir.
Recent solo exhibitions include Things Which Are Not Here, of Which We Cannot Say at Ivan Gallery Bucharest (2022), Methods for the Study of What Is Not There at Künstlerhaus Bremen (2021), Betraying the Senses, or How to Speak of What Is Not There at Project Arts Centre Dublin (2022) and All the Things Which Are Not Here at Swimming Pool Sofia (2019). Recent Bureau solo shows include Heartbeat Detection Systems at Suprainfinit Gallery and The Internal Fire at Goethe-Institut (both Bucharest, 2022). Selected group shows include Grazer Kunstverein, Salonul de Proiecte Bucharest, National Museum of Contemporary Art Bucharest, CCA Derry, Glasgow International, TRAFO Budapest, Pratt Manhattan Gallery New York, Times Museum Guangzhou, HOME Manchester, etc.
Lecture
Studio Class Philipsz, HfBK Dresden
18.1.23
Sandra Teitge
Sandra Teitge is a curator, programmer, and sporadic performer born in East Berlin in the 1980s. She is the Head of Public Program and Curator at CCA Berlin – Center for Contemporary Arts. Teitge organizes exhibitions and programs at the intersection of contemporary art, architecture and design, often in urban and commercial spaces. Her recent curatorial projects include an investigation into gossip in Berlin’s urban space, the nGbK project Art in the Underground; a podcast for the ifa gallery Berlin, the exhibition and the associated program Wild Frictions. The Politics and Poetics of Interruption at CAC Cincinnati and Kunstraum Kreuzberg/Berlin; New Nature Vitrines, a film program for shop windows in Berlin, Montreal and New York; and Quarantine Choir, a series of audio performances.
In 2018/19 Teitge was director of the Goethe Pop Up Minneapolis Goethe in the Skyways; in 2014, she founded the residency program FD13 in Saint Paul, MN/U.S., which now runs independently of her. Teitge studied art and visual history (MA) at the Humboldt University and the Berlin University of the Arts, as well as Media Studies and French (BA) at the University of Sussex in Brighton, UK, and at the Nouvelle Sorbonne in Paris, France.
Live Performance
Studio Class Philipsz, HfBK Dresden
14.12.22
A SYMPHONY OF HORROR
in collaboration with Ari Benjamin Meyers
with individual performances by Yoonyoung Bae, Amina Codraro, Luca Diebold, Ronja Sommer and films, works and interventions by Mona Freudenreich, Patryk Kujawa, Richard Laber, Mia Heidler, Julien Vogel
‚A SYMPHONY OF HORROR‘ is a live performance to mark the centenary of the classic movie ‚Nosferatu – Eine Symphonie des Grauens‘ by F.W. Murnau (1922)
In collaboration with composer and artist Ari Benjamin Meyers, students of the Susan Philipsz class have developed a collective performance in which individual performances and artistic works are embedded.
Excursion
Gallery tour, Berlin
16.11.22
Class Susan Philipsz
Workshop
Studio Class Philipsz, HfBK Dresden
Okt/Nov/Dec '22
Ari Benjamin Meyers
Ari Benjamin Meyers (b. 1972, USA) lives and works in Berlin. Meyers received his training as a composer and conductor at The Juilliard School, Yale University, and Peabody Institute. Trading the concert format for that of the exhibition, his widely exhibited works – such as Kunsthalle for Music (2018), Symphony 80 (with the Bavarian Radio Symphony Orchestra) and Solo for Ayumi (both 2017) – explore structures and processes that redefine the performative, social, and ephemeral nature of music as well as the relationship between performer and audience. His diverse practice features performances for the stage and for exhibition spaces as well as three operas including a commission for the Semperoper Dresden, a ballet for the Paris Opera, and the experimental music- theater work Forecast for the Volksbühne Berlin.
Talk & Round Table Discussion
Aktsaal, HfBK Dresden
19.10.22
Susan Philipsz & Radio International Collective,
Prof. Dr. Frédéric Bußmann (Kunstsammlungen Chemnitz)
Maria Isserlis (Staatliche Kunstsammlungen Dresden)
Donjete Murati (Center for Narrative Practice)
Presentation of the project Radio International for Manifesta 14 and round table discussion at HfBK Dresden
Exhibition
Manifesta 14,
Pristina, Kosovo
22.7.–30.10.22
Susan Philipsz & Radio International Collective
The interconnection of sounds across time and space has been the inspiration for several works by Susan Phillipsz, among them the collective project Radio International, whose project comprises a series of radio-transmitted sound works.
The modular K67 kiosk was designed by Slovenian architect Saša J. Mächtig. It was marketed from the late 1960s onwards as “the right point of meeting”. Its popularity extends across eastern and central Europe all the way to New York, where it is part of the collection of the Museum of Modern Art.
Inscribed in cultural memory, the once ubiquitous model has become a rare sight on the streets of Prishtina. To halt the tide of dereliction and disappearance, Ilir Dalipi has restored and repurposed one of the last remaining kiosks in town. Influenced by tactical urbanism, which proposes swift and small-scale solutions to larger problems, the architect and urbanist seeks to inspire others to follow his example.
During Manifesta 14 Prishtina, the K67 will host Radio International, an intervention by sound artist Susan Philipsz in collaboration with a collective of students from Kosovo and abroad. Later on, Dalipi intends for the kiosk to become a museum for other everyday design objects, similarly rescued from oblivion.
Talk
Center for Narrative Practice,
Pristina, Kosovo
23.7.22
Susan Philipsz & Radio International Collective
Prof. Susan Philipsz and students from the University of Fine Arts (HfBK) Dresden in collaboration with students from the Faculty of Philosophy at Universiteti i Prishtinës spoke about their project Radio International developed for Manifesta 14 at the Center for Narrative Practice in Pristina. Radio International is a series of radio transmitted sound works broadcast from the 9th floor of the Grand Hotel Prishtina to a restored Saša J. Mächtig K67 kiosk on Zahir Pajaziti Square in the center of Prishtina.
Lecture
Aktsaal HfBK, Dresden
12.5.22
Joanna Warsza
Biennales and biennales.
Among the three hundred biennials in the world, there are biennales and biennales. Those second ones ‒ such as Autostrada Biennale in Kosovo ‒ are more valuable to look at and work with from a critical, curatorial perspective. These have been called Biennales of Resistance by the political scientist Oliver Marchart and many have originated in the Global South such as the early Havana Biennial 1978, the Gwangju Biennale after the democratic uprising in South Korea in 1980, the short-lived Johannesburg Biennale after the end of apartheid in 1994, or the Istanbul Biennale after the 1980 military intervention in Turkey. Some of their aims were to de-westernize the art canon, decenter cartographies, shake legitimized institutional art, or create counter-hegemonic models. Starting with Kosovo but also making a detour to Venice we will also speak about how the language of contemporary art can be a form of resilience and recovery.
Joanna Warsza, is an interdependent curator, editor and educator. Currently a co-curator of the Polish pavilion at the 59. Venice Biennale, with the work of Polish-Romani artist Malgorzata Mirga-Tas. She is also co-curator, with Ovul O. Durmusoglu of the 3rd and 4th Autostrada Biennale in Kosovo (2021, 2023) and a program director of CuratorLab at Konstfack University in Stockholm.