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Sunday, 06.11.2016
17:00h

 

2016 / 201611 / Buchvernissage
Taking a Line for a Walk
Conversations #2: The lost assignment

Emilia Bergmark, Corinne Gisel, Nina Paim
 




Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Words fly out of a teacher’s or student’s mouth and quickly disappear into thin air. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time?

Guests:
Sarah Klein, designer and researcher, HGK Basel and Ecal Lausanne, CH
Leslie Kennedy, designer and researcher, Basel School of Design, CH
Michael Renner, director Institute Visual Communication, Basel School of Design, CH

Mediated by:
Nina Paim and Corinne Gisel

This conversation is part of a series of events investigating current issues in design education in relation to giving, writing, and preserving assignments, initiated by the authors of the book Taking a Line for a Walk, published by Spector Books Leipzig in 2016.

Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions.Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.


http://spectorbooks.com/taking-a-line-for-a-walk
Taking a Line for a Walk: Assignments in design education

Conceived by Nina Paim, Corinne Gisel, and Emilia Bergmark
280 pp.
15 black-white images
Wire-o with softcover in reverse binding
Spector Books Leipzig 2016
ISBN: 9783959050814
Edition Number: 1st
Size: 22 cm x 25.5 cm

Posted by Corner College Collective

Wednesday, 09.11.2016
18:30h

 

2016 / 201611 / Lecture
The Sonic Spectrum of Brazil's Tropicália: A Story Through Music
Jeffrey Pijpers
 




Where there are opinions, differences arise. Nonetheless opinions by academics, critics and music lovers generally agree on the fact that Tropicália as a musical movement marked an important change in Brazil's musical history: it clearly marks a before and an after. A lot has been said and written about the movement already, but in spite of all the information that is available, it continues to be difficult to summarize what Tropicália is without running the risk of leaving some key elements out. In my presentation I wish to introduce Tropicália through its own language: music. Different audio and visual fragments will be used to give an idea of the movement’s stylistic diversity, focusing not only on how it differs from other styles and currents in Brazilian music, but also emphasizing some important connections and continuities.

Jeffrey Pijpers

This event is also part of the Workshop Tropical, Tropicalismo, Tropicálias – Cultural (Counter)movements in Brazil at the University of Zurich.

Organized by Pauline Bachmann and André Masseno together with the Luso-Brazilian Studies department of the University of Zurich.

Posted by Corner College Collective

Saturday, 12.11.2016
19:30h

 

2016 / 201611 / Home of the Brave: Archeology of the Moving Image
Lena Maria Thüring at Home of the Brave
Lena Maria Thüring
 


Lena Maria Thüring, Future Me, 2015, HD Video, single channel, 16:9, colour, sound, 11 min 49 sec, German subtitles. Video still.


[English below]

Lena Maria Thüring ist zu Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.

[Deutsch siehe oben]

Lena Maria Thüring is guest at Home of the Brave: Archeology of the Moving Image. A series of events by Corner College.

Lena Maria Thüring’s work explores individual stories in a reflection on social systems and their underlying constructions using various media, such as photography, performance, video or installation.

The interview forms both the starting point and the staging ground for much of Lena Maria Thüring’s recent filmic work. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Detaching the spoken narrative from the subjects’ bodies and even their voices, Thüring creates a fissure between seeing and hearing, identity and biography. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid.

Born in Basel 1981, lives and works in Zurich.

Thüring’s work had been shown in solo exhibitions at the Kunsthaus Baselland (2012) and the Museum für Gegenwartskunst Basel 2013 and in groupshows and screenings at the Kunstmuseum Bern, Kunsthalle Basel, Haus der Kulturen Berlin, the Reina Sofia National Museum Madrid in Spain and the Palais de Tokyo in Paris. She received several awards including Swiss Art Award (2008), Kiefer Hablitzel Foundation Award (2011), Grant from Zurich City (2012), Manorkunstpreis Basel (2013) and two artist residencies in Paris (2009) and New York (2010).

Thüring is a member of the Fachausschuss Audiovision und Multimedia BS / BL.

http://www.lenamariathuering.ch/



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

Saturday, 19.11.2016
17:00h -
Saturday, 31.12.2016

 

2016 / 201611 / 201612
Buon Lavoro!
Prose of The Day – Poetic Resistance

Cora Piantoni
 


Cora Piantoni, Another Information: Terzo Radio GAP, 2016. Video still.


A personal exhibition by Cora Piantoni

19 November - 31 December 2016

Opening: Saturday, 19 November, 17:00h


Opening Hours / Öffnungszeiten
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h


Cora Piantoni’s personal exhibition at Corner College presents a selected body of works based on the artist’s continued research about working people and their communities, and the transformation of labor in the social factory and the geopolitics of work.
“Working slowly” is a protest song and popular workerist anthem in 1970s Italy: “Work slowly / And effortlessly / Work may hurt you / And send you to the hospital / Where there’s no bed left / And you may even die. / Work slowly / And effortlessly / Health is priceless.” In contrast to the slogans of the Italian workerist resistance in the 1970s, Cora Piantoni chooses as the main title of the exhibition an affirmative expression of the notion of work, sensitive to the systematic precarization characteristic of the neoliberal economy of late capitalism, the need for jobs for everyone, and a positive relation to work that can empower the struggles of the workers for a better life. The Italian greeting “buon lavoro” has a positive connotation and is used as a wish expressing one’s own emotional involvement in the work of someone. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! – Have a good day at work! – Good luck with your work!

As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers. The exhibition is set up on the consistency of the artist’s concept of an archeology of work, the materiality of the encounter, and the struggles of daily life and poetics of resistance of working people. The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage. The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects.

In the history of moving images and cinema, there are two main streams, one in the line of D. W. Griffith and Sergei Eisenstein, the other, the molecular revolution of everyday life of Dziga Vertov’s Man With the Movie Camera, who is a collector of the non-linearity of presence. In Cora Piantoni’s works, there is something of Vertov’s molecular sensibility. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives. This consistency manifests itself again in the artist’s newest work, Another Information: The Interferences of Terzo Radio GAP, which premieres in the exhibition. This latest work comes out of a residency in Genoa in 2015, where the artist encountered a local story from the Italian antifascist resistance of the early 1970s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.

Text: Dimitrina Sevova in collaboration with Alan Roth


Curated by Dimitrina Sevova.



Irene Müller über Cora Piantonis Ausstellung im Corner College, Kunstbulletin 12/2016, p. 77.

Posted by Corner College Collective

Sunday, 20.11.2016
11:00h

 

2016 / 201611 / Buchvernissage
Matinée:
Book Release mit Filmdokumenten - Ted Serios. Serien
Ästhetik des Virtuellen. Gedankenphotographien des Mediums Ted Serios

Romeo Grünfelder
 


Titelbild © 1967 by Gerald D. Brimacombe, Getty Pictures Archive.


Aus Anlass des 10. Todestages von Ted Serios präsentiert der Hamburger Textem Verlag einen Fotoband mit bislang unveröffentlichten paranormalen Polaroid-Serien aus den 1960er Jahren. Der Bildband widmet sich mit Ted Serios’ übersinnlicher Fotografie “dem vermutlich bestdokumentierten Medium der Parapsychologie” überhaupt. Herausgeber des Bandes ist der Hamburger Filmemacher und Regisseur Romeo Grünfelder. Nach der Auftaktveranstaltung im Metropolis Kino Hamburg wird der Forschungszusammenhang am 20.November zur Matinee um 11:00 Uhr im Corner College in Zürich vorgestellt. Weitere Stationen in Deutschland, der Schweiz und Österreich schließen sich an.

Ted Serios wurde bekannt dafür, Gedanken mittels psychischer Energie auf Sofortbild übertragen zu können, was Wissenschaftler bis heute vor ein ungelöstes Rätsel stellt. In umfangreichen Experimenten entstanden über 400 paranormale Polaroids, die Grundlage der ausgewählten Fotoserien des Fotobandes bilden.


Ted Serios. Serien
Romeo Grünfelder (Hrsg.)
564 Seiten mit 352 Abbildungen
Mit Beiträgen von Philippe Dubois, Prof. Dr. Peter Geimer, Romeo Grünfelder (Hrsg.) und Prof. Dr. Bernd Stiegler Textem Verlag
978-3-941613-46-1
http://www.textem.de/index.php?id=2734


Zu Ted Serios

geb. 27. November 1918, arbeitete als Hotelpage in Chicago, als er für seine Produktion von »Gedankenfotografien« auf Polaroid-Film im Laufe der 1960er Jahre bekannt wurde. Er behauptete, Grundlage seien allein seine psychischen Kräfte, was Fotografen und Skeptiker seither zu widerlegen versuchen. Ted Serios starb am 30. Dezember 2006 in Chicago.


Zum Psychiater und Parapsychologen Jule Eisenbud

geb. 20. November 1908 in New York, USA, arbeitete nach der Erlangung der Doktorwürde an der Columbia University als Psychiater und eröffnete 1938 eine Praxis für Psychiatrie und Psychoanalyse in New York. Im Jahr 1950 wechselte er als außerordentlicher klinischer Professor für Psychiatrie nach Denver. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Er war einer der Ersten, der Gedankenübertragung und andere PSI- Fähigkeiten als Kommunikationsmittel in die Psychoanalyse mit einbezogen hat. Bekannt wurde er vor allem durch sein Buch The World of Ted Serios, New York 1967, in dem er seine Forschungsergebnisse zu Ted Serios zusammenfasste. Jule Eisenbud starb am 10. März 1999 in Denver, Colorado.


Zum Herausgeber Romeo Grünfelder

geb. 1968, ist Autor, Filmemacher und Regisseur, studierte in Hamburg Musik, Medienphilosophie und Kunst. Stipendiat u. a. der Villa Aurora in Pacific Palisades. Von
2008 bis 2010 unterrichtete er Dramaturgie und Philosophie an der Hochschule für Bildende Künste Hamburg. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt.
Er lebt & arbeitet als Regisseur in Hamburg und Berlin.
http://felderfilm.de


Zum Textem Verlag

Gegründert im Jahr 2004 von Nora Sdun und Gustav Mechlenburg mit Sitz in Hamburg. Der Verlag ist spezialisiert auf Veröffentlichungen von Literatur, Theorie, Künstlerbücher und Ausstellungskataloge. Seit Juli 2006 verlegt der Textem Verlag das Printmagazin Kultur & Gespenster. Bisherige Veröffentlichungen, das Verlagsprogramm und weitere Aktivitäten des Verlags unter
http://www.textem-verlag.de/

Posted by Corner College Collective

Friday, 25.11.2016
19:30h

 

2016 / 201611 / Buchvernissage
Efferveszenz
Im Herzen der Zeitgenössischen Mythologie

Isabelle Capron, Marianne Smolska
 

Efferveszenz
Im Herzen der Zeitgenössischen Mythologie

Text, Installationen und Konzept: Isabelle Capron Illustrationen: Marianne Smolska




Was haben ein Staubsauger, ein Kernreaktor eine Datingplattform, ein Musikvideo von David Bowie, eine Cola-Dose und ein Satellit gemeinsam? Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Durch sie äussert sich unser Glauben an dem technischen Fortschritt, genauso wie wir früher an Götter geglaubt haben. Aber wie alle mythologische Phantasmen neigen auch diese Dinge dazu sich wieder in Luftblasen aufzulösen und zu verschwinden.

Efferveszenz vereint drei poetische Installationen, die im Rahmen des Openair Literatur Festivals Zürich ausgestellt wurden. Ergänzt werden sie durch Illustrationen von Marianne Smolska. Efferveszenz, schreibt Capron, ist eine Frechheit, sie verkörpert alles Wilde, Flüchtige und vollkommen Freie, alles was lebendig, pulsierend, atmend, widerständig ist. Auf poetisch-satirische Weise untersucht Capron unseren Glauben in den technischen Fortschritt, sie lädt uns ein auf eine Reise ins Reich der zeitgenössischen Mythen.

Die kleine Apotheke der Liebe nähert sich dem neuen Imaginären der Liebe in Form von literarischen Heilmitteln. Das Horoskop der Hypermonster ist eine Galerie von zwölf Ungeheuern, gezeugt durch die Massenkultur der Hyperindustrie. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird.

Das Buch ist ein Plädoyer für einen verantwortlichen, pazifistischen Umgang mit den modernen Technologien. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen.

Die Autorin Isabelle Capron kam vor 20 Jahren als Korrespondentin von Paris nach Zürich, wo sie heute noch lebt. Sie studierte Philosophie an der Sorbonne. Heute unterrichtet sie Französisch an der ZHAW an den Studiengängen Kommunikation und Journalismus. Sie arbeitet an Projekten im Bereich plastischer Literatur und ist Mitglied des Autorenkollektivs Index, des AdS und der SSA.

Die Illustratorin Marianne Smolska kommt ursprünglich aus Paris und lebt heute in Hanoi. Sie arbeitet im Bereich der Illustration, Grafik und Gestaltung an verschiedenen Projekten für öffentliche und private Institutionen oder Unternehmen, sowie für internationale NGOs.




Posted by Corner College Collective

Tuesday, 29.11.2016
19:00h

 

2016 / 201611 / Diskussion / Vortrag
Federica Martini: Pérruques, homers and pirate radios
and discussion between Federica Martini, Cora Piantoni and Dimitrina Sevova

Federica Martini, Cora Piantoni, Dimitrina Sevova
 

19:00h Talk by Federica Martini: Pérruques, homers and pirate radios.




The « pérruque » is a tactic for diverting time from the factory work and indulge in creative no-profit labour. Like pirate radios, pérruques infiltrate production narratives with notions of desire and liberated time. Like quilts, the pérruques are a non-hegemonic class practice that is based on appropriation, storytelling and generosity. In resonance with Cora Piantoni's exhibition Buon Lavoro! Prose of The Day – Poetic Resistance at Corner College, in this talk the pérruque will play as a magnifying glass and a metaphor to read collaborations between artists and workers in factories in 1960s-1970s Italy. Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.


20:00h Conversation between Federica Martini, the artist Cora Piantoni and the curator Dimitrina Sevova, in the context of Federica Martini's talk and on the occasion of Cora Piantoni's personal exhibition Buon Lavoro! Prose of The Day – Poetic Resistance.

Posted by Corner College Collective