In its first year, Salon Populaire followed two thematic threads, which evolved from the composition of the project itself. On the one hand, we were interested in current conceptions and the handling of space, which have given important impulses to the content and the formal direction of the salon. Out of this, we developed preliminary key questions that deal with the production conditions in the arts and in other fields: Which and where are the spaces for thinking and presenting art today? What do they look like? Which (social) functions can they perform? In which way do they inscribe themselves into urban space?
The second topic, Love, emerged from of the social function of the salon. Personal and/or private bonds form a natural part of the art system today. The division between private and professional is even less possible here than in other fields, or perhaps it is even unwanted. Dealing with these relationships is problematic insofar as they are an immanent part of the exploitation logic in the capitalist system, and thus are automatically purposeful. In the salon, we followed the thesis that love nevertheless and still has the transforming (and maybe the revolutionary) potential to break open the rigid polarity of advantage vs.profit and pure disinterestedness, and that the basic principles of solidarity, support, care and trust, which come along with love, are preconditions for meaningful working and living.
A conversation between Antje Majewski, Mathilde ter Heijne and Ludwig Seyfarth about marches, processions, objects in rituals and some 70s feminist issues. Continue reading →
With Annika Larsson Continue reading →
In this film screening around characters, conceptions and misconceptions of love, Discoteca Flaming Star will show a selection of their video works. Continue reading →
You buy love, insurance, stockings, drugs, cauliflower, cars and plastic toys. But can you also buy friends? Continue reading →
It’s Athens, 416 a.d., and a number of the city’s luminaries get together for a drinking party at the home of the famous tragedian, Agathon. After some eating, drinking and dilly-dallying, they each resolve to deliver a panegyric in praise of Love. Continue reading →
City-Space, City-Life? Or the Avoiding of Human gadgets (2 Lectures)
Continue reading →
With Estelle Blaschke, Armin Linke and Doreen Mende. Continue reading →
a Walk in Tiergarten-Süd and Schöneberg on the occasion of the exhibition of Flo Gaertner, Heiko Karn, Katrin Mayer, Eske Schlüters at RECEPTION.
Continue reading →
An Evening with Mario Pfeifer Continue reading →
With Doreet Levitte Harten Continue reading →
A conversation with Mladen Stilinovic Continue reading →
Selected by Jeans Team and Machínes Désirantes. Continue reading →
A play by Elmgreen & Dragset; with Text by Tim Etchells
Drama Queens is a play without actors. Seven 20th century superstar sculptures find themselves trapped on a theatre stage and out of their usual context. How do they interact with this new environment and with each other? The drama unfolds through a series of clashes and crossovers between the various “isms” and aesthetics that these sculptures represent. The different sculptures are icons inspired by 20th century art history: Walking Man by Alberto Giacometti (1947), Brillo Box by Andy Warhol (1964), Elegy III by Barbara Hepworth (1966), Four Cubes by Sol Lewitt (1971), Untitled (Granite) by Ulrich Rückriem (1984), Cloud Shepherd by Jean Arp (1953) and Rabbit by Jeff Koons (1986). As ‚personalities‘ the sculptures assume characteristics from the cultural zeitgeist in which they were produced. Remotely controlled, the sculptures ‚perform‘ to a seated audience, thereby reversing the typical roles of how an audience engages with art in galleries, as well as traditional concepts of theatre.
The play has been developed for the exhibition skulptur projekte münster 07.
Michael Elmgreen & Ingar Dragset are based in London and Berlin.
Annette Weisser and Sylvère Lotringer will present The German Issue, read selected passages and engage with the audience in a non-nostalgic revision of the 1980s.
Continue reading →