Kategorien ArchivesSpecial Guests
How closely do you identify with the character you play in facebook?
– anonymous status update, social networking site.
Based on a collective viewing of a selection of young American artist Guthrie Lonergan’s growing youtube collection of peoples’ introductions to their Myspace pages, Salon Populaire hosts participants in NYLON, Craig Calhoun and Richard Sennett’s research group of social scientists and cultural producers to act as priviledged respondents and to discuss their remarks with the audience.
The internet holds a vast archive of representations of self. From facebook pages to Craigslist solicitations, youtube spots about what “people say”, to Tumblrs, to videos of our cats– the online project that people seem to have been most consistently committed to, and most creative in pursing, is testifying about ourselves.The modes and rhetorics of self presentation change quickly on the internet; how quickly we become nostalgic for the AOL profile or even the mySpace page, through which we once “got to know” our perfect strangers, our friends and ourselves. And how quickly we learn orient ourselves to new ones.
From one perspective these artifacts that people produce are visual expressions, petit artworks. From another they are data. What are we to make of the internet’s vast and deepening archive of self-produced representations? What can we do with them? What are they trying to tell us?
NYLON was created in 2001 by Craig Calhoun and Richard Sennett of New York University and the London School of Economics and currently holds its 10th annual graduate student conference in Berlin. It began as a network of young scholars within the two institutions and collaboration between them. Today, NYLON has expanded beyond its original boundaries; it now includes members from Cambridge and Oxford in the U.K.; from Chicago and Los Angeles in the U.S.; and on the Continent from Paris, Budapest and Frankfurt. NYLON researchers share a broad interest in culture and qualitative research methods; more, with ways that social processes turn into concrete cultural forms through practical activity. They are thus exploring informal, improvised social practices, as well as the bones of institutions; again, they try to integrate cultural analysis with an understanding of politics and political economy.
NYLON is supported by New York University, London School of Economics, Cambridge University, Goldsmiths College-London and the Watermill Center for the Arts and Humanities.
Our upcoming fourth issue marks the first full year of our dual-language quarterly.
To celebrate the release of our spring issue, we’re hosting a launch event at the Salon Populaire at 7pm on March 10.
In keeping with the magazine’s bilingual nature, we’ll be asking questions about the nature of ‘Globish’, or global English: how does the predominance of the English language affect art, writing and culture?
Please join us in hearing Karl Holmqvist and Jan Verwoert, Alix Rule, and Vincenzo Latronico read, perform, and give their thoughts on this theme.
This launch is the first in a series of talks on the theme of language, artistic production, and criticism that we will be hosting during the month of March. More details to follow.
This event is free and open to the public, so please do bring your friends.
We look forward to seeing you there.
March 10, 2012
7:00 on the dot
Karl Holmqvist is an artist based in Berlin and Stockholm.
Vincenzo Latronico is a Milan-based author and translator.
Alix Rule is a critic and sociologist based in New York.
Jan Verwoert is a critic and contributing editor for frieze.
Société Réaliste will Give a Talk on Invent / Invest within the Frame of the BEHAVING DIFFERENTLY! lecture series organized by Interflugs.
Société Réaliste is a Parisian cooperative created by Ferenc Gróf and Jean-Baptiste Naudy in June 2004. They work in multiple forms with political design, experimental economy, territorial ergonomy and social engineering consulting. Their projects can take the shape of exhibitions, publications or conferences. In relation to the “Behaving Differently!” lecture series focus on art economies, they will present connection points between projects dealing with the issue, such as “Cabinet Société Réaliste Conseil”, a legislative consulting firm whose mission is to help create and sustain competitive legislation (ongoing), the “Artleaks” collaborative platform for the labor rights of cultural workers (2011), the collective critical exhibition “Artist Pension Trust” (2011), or their Art Scheme Corporation “Ponzi’s” (2006). They will as well present their most recent work about the structural commonality of ideology in architecture and discourse, as developped in 2011 with the series of exhibitions “Empire, State, Building” (Jeu de Paume, Paris), “The city amidst the buildings” (Akbank Sanat, Istanbul) and “Archiscriptons” (Mosseri-Marlio Gallery, Zurich).
BEHAVING DIFFERENTLY! is a lecture series on models of resistant economies in art and cultural work. “The State (…) is a condition, a certain relationship between human beings, a mode of human behavior; we destroy it by contracting other relationships, by behaving differently.” Gustav Landauer Organised by Interflugs, the autonomous students organisation at the UdK Berlin.
An evening about animals and ideology. With Ulrich Gebert and Cord Riechelmann.
In german only
From P.T. Barnum’s “Happy Family” to the Zoo at Buchenwald concentration camp, Ulrich Gebert investigates how animals were put into service for various human ideologies and how the animal functions as a projection screen. Followed by a film screening of Werner Herzog’s “Grizzly Man”.
Ulrich Gebert is an artist based in Munich. His show “A Breed Apart” is currently on at Klemm’s Gallery, Berlin.
Cord Riechelmann is research biologist, technology writer and author.
Image: Courtesy Archiv der Gedenkstätte Buchenwald
Luis Camnitzer in an open conversation with Michael Müller and the audience about hegemonic language and arbitrary order.
For Luis Camnitzer art is, above all, an instrument for the expansion of knowledge. Since the sixties he has probed founding questions as to the social functions of art, the relationship between artist and observer as well as the multilayered network of language and power. It is essential to his method that the process of making sense occurs in tandem with the audience, where the work functions as the generator of communication to open mental space. The written word is an important aspect for Camnitzer’s artistic creations as well as in his theoretical writing, which strives to be as astute as it is enigmatic in its expression.
Luis Camnitzer will discuss his methods and conceptions of art and education with its aims and miscellaneous obstacles with Michael Müller. The audience is cordially invited to join in.
The conversation is organized in collaboration with Aanant & Zoo on the occasion of the exhibition “Luis Camnitzer”, opening on November 18.
Aanant & Zoo
18.11.2011 — 28.01.2012
With Birgit Effinger and Hannah Kruse (programme managers), Kerstin Drechsel and Kerstin Gottschalk (artists)
Is there a ‘system’ or ‘mode of production’ specific for Goldrausch? 15 female artists co-operate for one year in the Goldrausch program: debates, studio visits, catalogue production and exhibition planning determine the course of events. Its aims are professional development and creating networks.
How do artists experience the program, and what changes as a result? Are elements of the program transferable to other artists-networks? Goldrausch is based on the core principle of interest-led self-organization. This concept is put into practice at the event in Salon Populaire. A repository of topics, spanning from terms like artists’ statement, work environment, presence of women, communication strategies, exchange and support, to testing ground, competition, apparatus and beyond forms the basis of the agenda. There is no predetermined format or sequence. All guests are invited to choose a topic or question important to them, and to discuss it with those present. The evening will shape itself around the interests of all its participants.
With Kate Strong (Voice) and Thom Willems (Music and Voice Processing)
For his first solo show at Galerie Thomas Schulte, Michael Müller has created six new works focusing on the systematic and structural phenomena in language and how irregularities, contradictions and fissures are revealed as these are fundamentally inherent to every system.
The sound installation to be broadcast at Salon Populaire, “Weltempfänger: Ich-Oper” is a collaboration between the artist, responsible for concept and text, and composer Thom Willems (music and voice processing). This opera in eleven chapters and performed by Kate Strong, reflects Michael Müller’s concern with the dissolution of identity and allows him to explore the identity-forming function of language.
I: post scriptum
I am I
see the world and receive the world
or see or perceive
or and I see the world and receive the world
I and I
Welt sehen und Welt empfangen
I will repeat this for our international audience
Weltempfänger: Ich-Oper, Chapter 11, last page libretto
Plamper und andere im Gespräch mit Ellen Blumenstein und dem Publikum über TACET (RUHE 2) und die Serie von dramatischen Skulpturen oder begehbaren Hörspielen, die 2008 mit der 31-Kanal-Toninstallation RUHE 1 (WDR / Museum Ludwig) begonnen wurde.
Angelika Sautter, Matthias Einhoff, Matthias Matschke, Judith Engel, Julian Kamphausen, Susanne Pruskil, Angela Winkler, Carl Hegemann, Tatjana Pavlov-West, Peter Finger, Fabian Hinrichs, Margarita Broich, Marion Czogalla, Gunnar Nehrke, Ulrich Schreiber, Sebastian Blomberg, Volker Spengler, Milan Peschel, Muammer Cekmen, Jeremias und Maria Matschke, Tina Pfurr und Rashad Becker.
In einer musikalischen Partitur zeigt ein ‚Tacet‘ (lat. er/sie/es schweigt) dem Musiker an, dass er sein Instrument bis zum Ende des laufenden Abschnitts beiseite legen kann.
Eine Frau hört plötzlich auf zu sprechen – ein Krankheitssymptom oder der Beschluss sich zu verweigern? Um die schweigende Leerstelle schart sich ein Panorama von Stimmen. Aus den Reaktionen ihres Umfelds lassen sich die Vorgeschichte und Gründe für ihr Schweigen heraushören. Die Redenden legen ihr Worte in den stummen Mund, versuchen sie mit immer neuen Methoden zum Sprechen zu bringen. Therapeuten werden bemüht. Doch sie richtet sich ein in ihrem Schweigen, behauptet es als asketisches Lebensmodell. Ist dieser ‚Ausdruck‘ zivilen Ungehorsams Zeichen einer höheren Weisheit? Je länger sie ihre Ruhe wahrt, desto nachdrücklicher scheint sie den Sinn von Sprache und Gemeinschaft infrage zu stellen.
In TACET wird Ruhe zu einem Totalausfall in den Kommunikationsabläufen. Das Hörspiel ist aus der Perspektive der Frau erzählt, der schweigenden Leerstelle im Zentrum. Der Hörer hört nur, was die Schweigende hört und erfährt Ruhe als Ausdruck einer unergründbaren Sprachlosigkeit.
53 Minuten, Produktion: WDR / DLF 2010, gefördert durch die Filmstiftung NRW
Buch, Regie, Schnitt: Paul Plamper; Dramaturgie und Redaktion: Martina Müller Wallraf; Raumkonzept: Evi Wiedemann, Projektleitung, dramaturgische Beratung und Schnitt: Susanne Husse; Aufnahmen, Sounddesign und Mischung: Rashad Becker; Schnitt: Tina Pfurr.
Batsong, rehearsals for an Audioplay
by Adrian Williams and Theodor Köhler.
You are cordially invited to a two-evening presentation of Achim Lengerer’s Scriptings series in Berlin, launching new issues the April 19th at L40 and April 20th at Salon Populaire.
The traveling showroom and instant publishing magazine Scriptings invites artists, writers, graphic designers, performers and publishers who work with varying formats of “script” and “text” within their processes of production. The publication consists of live events (talk, discussion, reading, display, performance) as well as the magazine Scriptings. Scriptings is edited by the artist Achim Lengerer.
Theodor Köhler and Adrian Williams will perform two scenes from the edited excerpts of Batsong, rehearsals for an Audioplay, a work first developed and performed at the APF LAB in New York for eleven consecutive days in 2009. The play was originally performed with a four-member cast and will be shown in an abbreviated format for the performance at Salon Populaire.
L’Auditeur/the auditor / by Kerstin Meyer.
- Mr. President, how foolish, the tents were in shreds!
- No, Sir. They are computer operated and automatically collapse with time.
Achim and I had invited Mohamadou Diol and Seydou Ndiaye, both theater directors working with the method of Augusto Boal in Dakar, Senegal, to participate with us at the World Social Forum 2011 in Dakar. The World Social Forum is a platform for social activists against global capitalism that takes place on a bi-annual basis in a city of the global South. We disposed of a clear arrangement with which to reflect the complex situation of the Forum: each day, Diol and Ndiaye would be listening in to the talks as they happened, taking constant notes and immediately turning them into radio plays in our mobile sound studios. The studio booth consisted of two blue foam mats, which could be transported and set up easily on the extensive Dakar University campus.
*Images by Michael Pfrommer.
In the series of performances in public-space ‘Data Recovery’ I explore our relationships to certain possibly historical and strictly personal events and what remains of them in our memory or is lost in the process of compensatory imagination.
Wallace Stevens defined reality as an activity, not a static object. Jacques Ranciere chooses the present instead of historicization, the materiality of the process instead of interpretation.
As with the loss of data on the computer disk which can sometimes be retrieved only fragmentarily and dispersed outside the original context, my data recovery procedure is an attempt to recover pieces of action, events or situations which are lost in our social memory-loss.
By Luis Berríos-Negrón, Elín Hansdóttir, Mendel Heit, Fotini Lazaridou-Hatzigoga, and The Product with Jens Wunderling
With contributions by Morgan Belenguer, Miodrag Kuc, urbikon, and Leah Whitman-Salkin; external contributions by Ross Adams, Hilary Brown, François Bucher, Jean Gardner, Mark Jarzombek, Pia Marais, Walter Mercado, Paul Ryan, and Hannes Schmidt.
“Do we all have the strength to endure the misfortunes of others?”*
Salon Populaire invites you to join a conversation about
Renzo Martens’ film Episode 3: Enjoy Poverty
With Jennifer Allen, Felix Ensslin, Renzo Martens, Ana Teixeira Pinto and Dieter Roelstraete.
*François de La Rouchefoucauld