Johannes M . Hedinger
Johannes M. Hedinger is a researcher, curator, artist, educator and author. He is the director of the Institute for Land and Environmental Art, of the Biennale Art Safiental and Alps Art Academy, co-founder of the artist collective Com&Com. - www.johanneshedinger.com
Hedinger studied fine arts at the Zurich University of the Arts (ZHdK) as well as the University of California Los Angeles, UCLA, obtained second degrees in Art history, Cultural studies, Film studies and German studies at the University of Zurich and at the Humboldt University of Berlin, as well as a postgraduate degree in Strategic marketing at the Berlin University of the Arts, and pursued doctoral studies at the University of Lausanne.
Since 2006 Johannes Hedinger is lecturer and researcher at the Zurich University of the Arts (ZHdK) at the departments of cultural analysis and design. Since 2010 he teaches at the Institut für Kunst und Kunsttheorie at the University of Cologne, where he was a substitute professor for intermedia in 2013/14. Since 2016 he is the head of the summer school Alps Art Academy,
Research and mediation works include initiatives such as the Institute for Land and Environmental Art (since 2019), The New Artist (since 2016), Methods of Art (since 2014), What’s next? (since 2013), Urban Interventions (since 2012) and Cultural Hacking (since 2009).
Hedingers focus and research topics include: Land and Environmental Art, concept of landscape, art in the periphery, art in Public Sphere, Land Use, Urban Art, Socially Engaged Art, Participatory Art, Transdisciplinarity, Collaboration, Inter- und Crossmedia, Cultural Hacking, Concept Art, Context Art, Artistic Strategies, Sociology of Art and Artistic Research.
Hedinger is the editor and co-author of many books on contemporary art, such as LANDSCAPE #1 (2020), Point de Suisse (2015), What’s Next? Kunst nach der Krise (2013), Lexikon zur zeitgenössischen Kunst (2010), Kunst, öffentlicher Raum, Identität (2004).
Curatorial works include the Biennale Art Safiental (2020, 2018, 2016), ILEA Institute for Land and Environmental Art (since 2020), TEKTONIK (2018), Methods of Art (Ural Biennale 2015, Connecting Space Hong Kong 2015), Point de Suisse (Museum of History Basel 2015) and Kunstsalon (Bard Hall New York 2014).
Hedinger’s artistic production is mostly known as a part of the Swiss artist duo Com&Com (with Marcus Gossolt, since 1997). His latest projects include Bloch (since 2011), NEXPLORER (since 2019) Point de Suisse (2014-15) and Mocmoc (2003-08). Together they participated in nine Biennales (Venice, Shanghai, Singapore, Sharjah and Moscow amongst others), solo exhibitions at the Kunsthaus Zürich, Kunstwerke Berlin and Knockdown Center New York amongst others; group exhibitions at Centre Pompidou Metz, ZKM Karlsruhe, Kunstmuseum Bern, Migros Museum Zürich, Pratt Manhattan Gallery and Shanghai Minsheng Museum amongst others.
Address: Höhenring 9
8052 Zürich
Switzerland
Hedinger studied fine arts at the Zurich University of the Arts (ZHdK) as well as the University of California Los Angeles, UCLA, obtained second degrees in Art history, Cultural studies, Film studies and German studies at the University of Zurich and at the Humboldt University of Berlin, as well as a postgraduate degree in Strategic marketing at the Berlin University of the Arts, and pursued doctoral studies at the University of Lausanne.
Since 2006 Johannes Hedinger is lecturer and researcher at the Zurich University of the Arts (ZHdK) at the departments of cultural analysis and design. Since 2010 he teaches at the Institut für Kunst und Kunsttheorie at the University of Cologne, where he was a substitute professor for intermedia in 2013/14. Since 2016 he is the head of the summer school Alps Art Academy,
Research and mediation works include initiatives such as the Institute for Land and Environmental Art (since 2019), The New Artist (since 2016), Methods of Art (since 2014), What’s next? (since 2013), Urban Interventions (since 2012) and Cultural Hacking (since 2009).
Hedingers focus and research topics include: Land and Environmental Art, concept of landscape, art in the periphery, art in Public Sphere, Land Use, Urban Art, Socially Engaged Art, Participatory Art, Transdisciplinarity, Collaboration, Inter- und Crossmedia, Cultural Hacking, Concept Art, Context Art, Artistic Strategies, Sociology of Art and Artistic Research.
Hedinger is the editor and co-author of many books on contemporary art, such as LANDSCAPE #1 (2020), Point de Suisse (2015), What’s Next? Kunst nach der Krise (2013), Lexikon zur zeitgenössischen Kunst (2010), Kunst, öffentlicher Raum, Identität (2004).
Curatorial works include the Biennale Art Safiental (2020, 2018, 2016), ILEA Institute for Land and Environmental Art (since 2020), TEKTONIK (2018), Methods of Art (Ural Biennale 2015, Connecting Space Hong Kong 2015), Point de Suisse (Museum of History Basel 2015) and Kunstsalon (Bard Hall New York 2014).
Hedinger’s artistic production is mostly known as a part of the Swiss artist duo Com&Com (with Marcus Gossolt, since 1997). His latest projects include Bloch (since 2011), NEXPLORER (since 2019) Point de Suisse (2014-15) and Mocmoc (2003-08). Together they participated in nine Biennales (Venice, Shanghai, Singapore, Sharjah and Moscow amongst others), solo exhibitions at the Kunsthaus Zürich, Kunstwerke Berlin and Knockdown Center New York amongst others; group exhibitions at Centre Pompidou Metz, ZKM Karlsruhe, Kunstmuseum Bern, Migros Museum Zürich, Pratt Manhattan Gallery and Shanghai Minsheng Museum amongst others.
Address: Höhenring 9
8052 Zürich
Switzerland
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Books by Johannes M . Hedinger
context of visual arts. The book offers various perspectives on the complex relations between art, artists and landscape. LANDSCAPE
is a new publication series by the Institute for Land and Environmental Art (ILEA). In addition to the exploration of art in the peripheric,
rural and alpine landscapes, ILEA organizes the outdoor biennale Art Safiental and the international summer school Alps Art Academy in
the Swiss Alps.
Essays by / von: Aufdi Aufdermauer, Delphine Chapuis Schmitz, William L. Fox, Johannes M. Hedinger, Hanna B. Hölling,
Mattli Hunger, Sibylle Omlin, Janis Osolin, Lukas Ott, Jano Felice Pajarola, Jolanda Rechsteiner, Emily Eliza Scott, Chris Taylor, Lucie Tuma
Was ist Landschaft? Und was ist Kunst in der Landschaft? Der Landschaftsbegriff hat sich insbesondere im Kontext der bildenden Kunst in den letzten Jahren stark gewandelt und neu positioniert. Dieses Buch bietet verschiedene Perspektiven auf die komplexen Relationen zwischen Kunst, KünstlerInnen und Landschaft. LANDSCAPE ist eine neue Publikationsreihe des Institute for Land and Environmental Art (ILEA). Neben der Erforschung der Kunst im peripheren, ruralen und alpinen Landschaftsraum organisiert das ILEA in den Schweizer Alpen auch die Outdoor-Biennale Art Safiental und die internationale Sommerakademie Alps Art Academy.
In den letzten zwei Jahren wurden der Schweizer Bevölkerung in zwei Tranchen 45 Fragen zu Heimat, Arbeit, Politik, Migration, Kultur, Werten und Zukunft gestellt. Die Antworten fanden ein starkes Medienecho und wurden von namhaften Soziologen ausgewertet und bei zahlreichen Gelegenheiten diskutiert. Dieser Band versammelt eine Auswahl der Ergebnisse und bietet damit einen überraschend tiefen Einblick in die Hoffnungen und Ängste der Schweizerinnen und Schweizer (mit oder ohne Stimmrecht).
Mit Texten von Dirk Baecker, Lukas Bärfuss, Frank Bodin, Luc Boltanski, Rolf Bossart, Com&Com, Cédric Duchêne-Lacroix, Anita Fetz, Max Frisch, Ronnie Grob, Johannes M. Hedinger, Kornelia Imesch, Thomas Isler, Michael Kinzer, Wolfgang Koydl, Georg Kreis, Sophie-Thérèse Krempl,Walter Leimgruber, René Levy, Claude Longchamp, Ueli Mäder, Mathieu Menghini, Olivier Moeschler, Gudrun Piller, Milo Rau, Marco Salvi, Regula Stämpfli, Peter Streckeisen, Albert Tanner, Jakob Tanner, Christa Tobler, Elena Vuille-Mondada.
Rasheed Araeen, Lisa Anne Auerbach, Jens Badura, Dirk Baecker, Christoph Behnke, Timon Beyes, Tobia Bezzola, Alain Bieber, Jacob Birken, Nicolas Bourriaud, Bazon Brock, Christoph Brunner, Judith Butler, Carolyn Christov-Barkargiev, Piotr Czerski, Guy Debord, Annet Dekker, Christian Demand, Diedrich Diederichsen, Stephan Dillemuth, Florian Dombois, Okwui Enwezor, Hal Foster, Holm Friebe, Richard Buckminster Fuller, Johannes Gees, Simon Grand, Isbelle Graw, Boris Groys, Johannes M. Hedinger, Christine Heil, Jörg Heiser, Martin Heller,Hanna Hölling, Johanns Hoff, Roman Horak, Matthias Horx, Kornelia Imesch, Gila Kolb, Pius Knüsel, Gesa Krebber, Herbert Lachmayer, Ben Lewis, Li Zhenhua, Franz Liebl, Rachel Mader, Florian Malzacher, Oliver Marchart, Chuz Martinez, Karl Marx, Torsten Meyer, Timo Meisel, Markus Miessen, Heike Munder, Ingo Niermann, Hans Ulrich Obrist / Simon Castets, Karl-Josef Pazzini, Sibylle Peters, Sebastian Plönges, Mikkel Bolt Rasmussen, Milo Rau, Gerald Raunig, Hanno Rauterberg, Basil Rogger, Irit Rogoff, Philipp Sack, Jerry Saltz, Christian Saehrendt, Jörg Scheller, Michael Seemann, Imanuel Schipper, Klaus Schönberger, Trebor Scholz, Konstanze Schütze, Tomas Sedlacek, Peter Sloterdijk, Serge Stauffer, Bettina Steinbrügge, Nora Sternfeld, Ernst Strouhal, Aaron Swartz, Wolfgang Ullrich, Koert van Mensvoort, Jan Verwoert, Friedrich von Borries, Dirk von Gehlen, Joanna Warsza, Christoph Weckerle, Peter Weibel, Ulf Wuggenig, Beat Wyss, Slavoj Zizek, u.a.
Künstlerstatements von:
Marina Abramovic, Aram Bartholl, Michale Betancourt, Stanley Brouwn,Paul Chan, Armin Chodzinski, Com&Com, Jeremy Deller, Jimmie Durham, Thomas Feuerstein, Noah Fischer, Fischli/Weiss, Claire Fontaine, Andrea Fraser, Gilbert & Georg, Thomas Hirschhorn, Austin Kleon, Heinrich Lüber, Manifesto Club, Jonathan Meese, Gustav Metzger, Gerald Nestler, Neue Dringlichkeit, Yoko Ono, Dan Perjovschi, Pussy Riots, Raqs Media Collective, Reinigungsgesellschaft, Tino Sehgal, Superflex,
Swoon, The Yes Men, Rirktrit Tiravanija, UBERMORGEN.COM, Voina, Wochenklausur,u.a.
Essays by Johannes M . Hedinger
worker (Pierre-Michel Menger), as part of competitive artistic fields (Pierre Bourdieu), and as embedded in collaborative “art worlds” (Howard Becker), stresses the competitive as well as the collective and collaborative dimension of artistic creation. In regard of these different representations: exactly who are visual artists in Switzerland today? What is or are the self-representation(s) of contemporary visual artists? What are their socio-demographic profiles – notably in terms of gender – and their link to professional or personal trajectories and positions? Do artists manage to live from their artistic production? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry with a quantitative online questionnaire on more than 450 artists in the visual field living and/or working in Switzerland. The results outline changes and constants in the professional contours of today’s visual artists in a field structured by three poles – market logics, institutional support and non-integration. It highlights the strong role of the gender variable, as well as the dilemmas, contradictions and paradoxes that characterise todays artists’ self-perception and condition.
“Make Love Not War,” “Soyez réalistes, demandez l’impossible,” “Keine Macht für Niemanden,” “We are the 99%”: The last decades have been accompanied by a constant flow of resistant statements and methods in view of the prevailing conditions. When something is able to reach from the margins of society into its very center, it forges ahead in the form of a protest. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control.
Illustrated with expressive photographs and posters, Protest. considers social, culture-historical, sociological and politological perspectives as well as approaches that draw on visual theory, popular culture and cultural studies. In the process, the book takes into account in particular such contemporary developments as the virtualization of protest, how it has been turned into the fictional and its exploitation in politics by power holders of all shades.
“Make Love Not War,” “Soyez réalistes, demandez l’impossible,” “Keine Macht für Niemanden,” “We are the 99%”: The last decades have been accompanied by a constant flow of resistant statements and methods in view of the prevailing conditions. When something is able to reach from the margins of society into its very center, it forges ahead in the form of a protest. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control.
Illustrated with expressive photographs and posters, Protest. considers social, culture-historical, sociological and politological perspectives as well as approaches that draw on visual theory, popular culture and cultural studies. In the process, the book takes into account in particular such contemporary developments as the virtualization of protest, how it has been turned into the fictional and its exploitation in politics by power holders of all shades.
disclaimer of liability – an escape manoeuvre that tries to wriggle out of any responsibility. Now, though, people are seeking to return to an existence that is unfractured and direct and in which things are what they appear to be. - We are standing at the verge of something wondrous: the rebirth of our self-creation. Post-irony means total imaginative and creative freedom.
Im Juni und Juli 2014 wurde im Rahmen des Festival de la Cité Lausanne und mit Blick auf das 50-Jahre-Jubiläum der Expo 1964 (Gulliver-Affäre) in einer landesweiten Volksbefragung die Befindlichkeit der heutigen Schweizer Bevölkerung ergründet und vielfältig inszeniert. Anschliessend wurden die Resultate wissenschaftlich analysiert und in zwei Abschlussveranstaltungen im Théâtre Vidy-Lausanne und in der Gessnerallee Zürich sowie einer Publikation interpretiert und diskutiert.
Articles by Johannes M . Hedinger
context of visual arts. The book offers various perspectives on the complex relations between art, artists and landscape. LANDSCAPE
is a new publication series by the Institute for Land and Environmental Art (ILEA). In addition to the exploration of art in the peripheric,
rural and alpine landscapes, ILEA organizes the outdoor biennale Art Safiental and the international summer school Alps Art Academy in
the Swiss Alps.
Essays by / von: Aufdi Aufdermauer, Delphine Chapuis Schmitz, William L. Fox, Johannes M. Hedinger, Hanna B. Hölling,
Mattli Hunger, Sibylle Omlin, Janis Osolin, Lukas Ott, Jano Felice Pajarola, Jolanda Rechsteiner, Emily Eliza Scott, Chris Taylor, Lucie Tuma
Was ist Landschaft? Und was ist Kunst in der Landschaft? Der Landschaftsbegriff hat sich insbesondere im Kontext der bildenden Kunst in den letzten Jahren stark gewandelt und neu positioniert. Dieses Buch bietet verschiedene Perspektiven auf die komplexen Relationen zwischen Kunst, KünstlerInnen und Landschaft. LANDSCAPE ist eine neue Publikationsreihe des Institute for Land and Environmental Art (ILEA). Neben der Erforschung der Kunst im peripheren, ruralen und alpinen Landschaftsraum organisiert das ILEA in den Schweizer Alpen auch die Outdoor-Biennale Art Safiental und die internationale Sommerakademie Alps Art Academy.
In den letzten zwei Jahren wurden der Schweizer Bevölkerung in zwei Tranchen 45 Fragen zu Heimat, Arbeit, Politik, Migration, Kultur, Werten und Zukunft gestellt. Die Antworten fanden ein starkes Medienecho und wurden von namhaften Soziologen ausgewertet und bei zahlreichen Gelegenheiten diskutiert. Dieser Band versammelt eine Auswahl der Ergebnisse und bietet damit einen überraschend tiefen Einblick in die Hoffnungen und Ängste der Schweizerinnen und Schweizer (mit oder ohne Stimmrecht).
Mit Texten von Dirk Baecker, Lukas Bärfuss, Frank Bodin, Luc Boltanski, Rolf Bossart, Com&Com, Cédric Duchêne-Lacroix, Anita Fetz, Max Frisch, Ronnie Grob, Johannes M. Hedinger, Kornelia Imesch, Thomas Isler, Michael Kinzer, Wolfgang Koydl, Georg Kreis, Sophie-Thérèse Krempl,Walter Leimgruber, René Levy, Claude Longchamp, Ueli Mäder, Mathieu Menghini, Olivier Moeschler, Gudrun Piller, Milo Rau, Marco Salvi, Regula Stämpfli, Peter Streckeisen, Albert Tanner, Jakob Tanner, Christa Tobler, Elena Vuille-Mondada.
Rasheed Araeen, Lisa Anne Auerbach, Jens Badura, Dirk Baecker, Christoph Behnke, Timon Beyes, Tobia Bezzola, Alain Bieber, Jacob Birken, Nicolas Bourriaud, Bazon Brock, Christoph Brunner, Judith Butler, Carolyn Christov-Barkargiev, Piotr Czerski, Guy Debord, Annet Dekker, Christian Demand, Diedrich Diederichsen, Stephan Dillemuth, Florian Dombois, Okwui Enwezor, Hal Foster, Holm Friebe, Richard Buckminster Fuller, Johannes Gees, Simon Grand, Isbelle Graw, Boris Groys, Johannes M. Hedinger, Christine Heil, Jörg Heiser, Martin Heller,Hanna Hölling, Johanns Hoff, Roman Horak, Matthias Horx, Kornelia Imesch, Gila Kolb, Pius Knüsel, Gesa Krebber, Herbert Lachmayer, Ben Lewis, Li Zhenhua, Franz Liebl, Rachel Mader, Florian Malzacher, Oliver Marchart, Chuz Martinez, Karl Marx, Torsten Meyer, Timo Meisel, Markus Miessen, Heike Munder, Ingo Niermann, Hans Ulrich Obrist / Simon Castets, Karl-Josef Pazzini, Sibylle Peters, Sebastian Plönges, Mikkel Bolt Rasmussen, Milo Rau, Gerald Raunig, Hanno Rauterberg, Basil Rogger, Irit Rogoff, Philipp Sack, Jerry Saltz, Christian Saehrendt, Jörg Scheller, Michael Seemann, Imanuel Schipper, Klaus Schönberger, Trebor Scholz, Konstanze Schütze, Tomas Sedlacek, Peter Sloterdijk, Serge Stauffer, Bettina Steinbrügge, Nora Sternfeld, Ernst Strouhal, Aaron Swartz, Wolfgang Ullrich, Koert van Mensvoort, Jan Verwoert, Friedrich von Borries, Dirk von Gehlen, Joanna Warsza, Christoph Weckerle, Peter Weibel, Ulf Wuggenig, Beat Wyss, Slavoj Zizek, u.a.
Künstlerstatements von:
Marina Abramovic, Aram Bartholl, Michale Betancourt, Stanley Brouwn,Paul Chan, Armin Chodzinski, Com&Com, Jeremy Deller, Jimmie Durham, Thomas Feuerstein, Noah Fischer, Fischli/Weiss, Claire Fontaine, Andrea Fraser, Gilbert & Georg, Thomas Hirschhorn, Austin Kleon, Heinrich Lüber, Manifesto Club, Jonathan Meese, Gustav Metzger, Gerald Nestler, Neue Dringlichkeit, Yoko Ono, Dan Perjovschi, Pussy Riots, Raqs Media Collective, Reinigungsgesellschaft, Tino Sehgal, Superflex,
Swoon, The Yes Men, Rirktrit Tiravanija, UBERMORGEN.COM, Voina, Wochenklausur,u.a.
worker (Pierre-Michel Menger), as part of competitive artistic fields (Pierre Bourdieu), and as embedded in collaborative “art worlds” (Howard Becker), stresses the competitive as well as the collective and collaborative dimension of artistic creation. In regard of these different representations: exactly who are visual artists in Switzerland today? What is or are the self-representation(s) of contemporary visual artists? What are their socio-demographic profiles – notably in terms of gender – and their link to professional or personal trajectories and positions? Do artists manage to live from their artistic production? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry with a quantitative online questionnaire on more than 450 artists in the visual field living and/or working in Switzerland. The results outline changes and constants in the professional contours of today’s visual artists in a field structured by three poles – market logics, institutional support and non-integration. It highlights the strong role of the gender variable, as well as the dilemmas, contradictions and paradoxes that characterise todays artists’ self-perception and condition.
“Make Love Not War,” “Soyez réalistes, demandez l’impossible,” “Keine Macht für Niemanden,” “We are the 99%”: The last decades have been accompanied by a constant flow of resistant statements and methods in view of the prevailing conditions. When something is able to reach from the margins of society into its very center, it forges ahead in the form of a protest. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control.
Illustrated with expressive photographs and posters, Protest. considers social, culture-historical, sociological and politological perspectives as well as approaches that draw on visual theory, popular culture and cultural studies. In the process, the book takes into account in particular such contemporary developments as the virtualization of protest, how it has been turned into the fictional and its exploitation in politics by power holders of all shades.
“Make Love Not War,” “Soyez réalistes, demandez l’impossible,” “Keine Macht für Niemanden,” “We are the 99%”: The last decades have been accompanied by a constant flow of resistant statements and methods in view of the prevailing conditions. When something is able to reach from the margins of society into its very center, it forges ahead in the form of a protest. It masterfully and creatively draws on contemporary signs and symbols, subverting and transforming them to engender new aesthetics and meanings, thereby opening up a space that eludes control.
Illustrated with expressive photographs and posters, Protest. considers social, culture-historical, sociological and politological perspectives as well as approaches that draw on visual theory, popular culture and cultural studies. In the process, the book takes into account in particular such contemporary developments as the virtualization of protest, how it has been turned into the fictional and its exploitation in politics by power holders of all shades.
disclaimer of liability – an escape manoeuvre that tries to wriggle out of any responsibility. Now, though, people are seeking to return to an existence that is unfractured and direct and in which things are what they appear to be. - We are standing at the verge of something wondrous: the rebirth of our self-creation. Post-irony means total imaginative and creative freedom.
Im Juni und Juli 2014 wurde im Rahmen des Festival de la Cité Lausanne und mit Blick auf das 50-Jahre-Jubiläum der Expo 1964 (Gulliver-Affäre) in einer landesweiten Volksbefragung die Befindlichkeit der heutigen Schweizer Bevölkerung ergründet und vielfältig inszeniert. Anschliessend wurden die Resultate wissenschaftlich analysiert und in zwei Abschlussveranstaltungen im Théâtre Vidy-Lausanne und in der Gessnerallee Zürich sowie einer Publikation interpretiert und diskutiert.
Der Name Beltracchi steht für einen der weltweit grössten Kunstfälscherskandale der Geschichte. Bis 2010 malte Wolfgang Beltracchi rund 300 Gemälde unter dem Namen berühmter Künstler. Er übernahm deren künstlerische Handschrift und täuschte damit zig anerkannte Experten, die die Fälschungen als authentische, bisher unbekannte Werke verifizierten. In knapp 40 Jahren ahmte Beltracchi so rund 100 Maler nach: Expressionisten, Impressionisten, alte Meister – bis ihn eine Farbanalyse auffliegen liess. Seine Frau Helene war für den Verkauf der Bilder und die Kontakte zu den Galerien und Auktionshäusern zuständig. In einem aufsehen erregenden Prozess wurden die Beltracchis 2011 (nach 14 Monaten Untersuchungshaft) zu sechs bzw. vier Jahren Haft im offenen Vollzug verurteilt. Beide wurden wegen guter Führung frühzeitig entlassen. Die Schulden sind inzwischen abbezahlt, aber ein Grossteil der gefälschten Bilder ist weiterhin unentdeckt im Umlauf. Beltracchi malt heute teils immer noch mit der künstlerischen Handschrift anderer, aber unter eigenem Namen. Mit seiner Frau arbeitet er an diversen Buch, Film und Fernsehprojekten. Ein Besuch in ihrem neuen Atelier am Vierwaldstättersee.
Was bleibt, wenn der autonome Künstler,
sein Werk und Ideal Geschichte sind?
- Kunstgespräch mit Wolfgang Ullrich zu den verschiedene Entwicklungen in der zeitgenössischen Kunst und verschiedenen Künstlertypen.
- What people do for money - Hinein ins soziale Gewebe Zürichs
- Some Joint Ventures - Satelliten in der Stadt
- Sites under construction - historische Ausstellung
- Pavillon of reflection
- Artoons - Interview Pablo Helguera
- Cabaret der Künstler - Zunfthaus Voltaire
30 Fragen zu Sex, Drogen, Flugangst, Kunst und Zensur.
+ Kurzkritik zum neuen Buch "Der erste fiese Typ", sowie Gedanken
zu Miranda Julys Stil und zum gewandelten Künstlerbild allgemein.
Zur Hauptausstellung, den Nationenpavillons, den Kollateralevents und den beteiligten Schweizer Künstlern.
Kritik und Fahrplan zur Biennale Venedig 2015.
The third international Alps Art Academy will take place between June 25–July 4, 2020, in the Safiental (Grisons, Switzer-land). Located in Tenna, 1650 meters above sea level, the summer school focuses on Land and Environmental Art.In a dialogue with the canonized Land Art of the 1960s–70s, the Academy focuses on contemporary approaches to Land and Environmental Art by bringing them into a relationship with the Alpine landscape. We wish to create a platform of potentialities for the contemporary and future Land Art, which integrates not only natural landscape and the environment but also other “media” and the wider social context.We encourage proposal submissions from artists working with landscape and the environment across genres and media, as well as from theoreticians, facilitators and curators engaged in research on the topic of Land Art. We welcome appli-cations accompanied by a concrete concept that can be realized during the period of the summer school. The concepts should reflect the 2020 Alps Art Academy theme “ANALOG – DIGITAL.”
GERMAN VERSION
Vom 25. Juni-4. Juli 2020 findet im Safiental (Graubünden, Schweiz) die dritte internationale Alps Art Academy statt. Der Fokus der alle zwei Jahre veranstalteten Sommerakademie in Tenna (1650 m ü. M.) liegt auf Land and Environmental Art. Im Dialog mit der kunsthistorischen Bewegung der 1960er und-70er Jahre werden zeitgenössische Kunstansätze im alpi-nen Landschaftsraum verortet, diskutiert und weiterentwickelt. Die Alps Art Academy schafft eine Plattform für Vorschläge einer möglichen nächsten Land Art, die neben Landschaft und Natur auch weitere Medien sowie die Gesellschaft einbin-det. Die Ausschreibung richtet sich gleichermassen an Kunstschaffende, die sich für die Arbeit mit Landschaft und Umwelt interessieren, sowie TheoretikerInnen, VermittlerInnen und KuratorInnen, die zum Thema Land and Environmental Art forschen. Sie sind eingeladen, sich mit einer Projektidee zu bewerben, welche in der Akademiezeit realisierbar ist. Das Thema 2020 lautet: ANALOG-DIGITAL.