{"id":5589,"date":"2018-09-25T14:11:09","date_gmt":"2018-09-25T12:11:09","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?p=5589"},"modified":"2019-07-15T13:48:30","modified_gmt":"2019-07-15T11:48:30","slug":"max-grau-performing-knowledge","status":"publish","type":"post","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/5589","title":{"rendered":"Max Grau: Performing Knowledge"},"content":{"rendered":"

World of Art | School for Curatorial Practices and Critical Writing | Year 17
\nSeries of public lectures and workshops<\/a><\/p>\n

Workshop
\nWednesday and Thursday, 10 and 11 October 2018<\/strong>
\nProject Room SCCA, Metelkova 6, Ljubljana<\/p>\n

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Depending on whom you ask, the term Lecture Performance<\/em> either provokes giddy excitement or irritated annoyance. For the last decade or so,\u00a0\u203aLecture Performance\u2039 has become one of those buzzwords haunting theory-driven art production and the discourse around it. Although precursory\u00a0approaches can be traced back to 60s experimental theatre and strategies of institutional critique of the 90s (some argue to go back even further and consider Aby Warburg\u2019s Dia Lectures in the\u00a01920s), Lecture Performance<\/em> is often considered to be a very \u203acontemporary\u2039 phenomenon. We\u2019ll discuss why that might be and furthermore try to\u00a0shed light on political and aesthetic implications of artists appropriating the academic format of the \u203alecture\u2039. Most importantly, we\u2019ll familiarize ourselves with\u00a0performative strategies by watching examples and reading texts.<\/p>\n

The second day of the workshop is devoted to the participants (curatorial\/academic) practice and how performative strategies could be useful when\u00a0faced with the omnipresent demand of having to speak in public. Participants are asked to bring a (short) text or an excerpt of their own writing and\u00a0use it to stage a small performance. Whether these are done individually or collectively, use appropriated strategies or something new completely is\u00a0up to the participants. As a group we\u2019ll try to create an atmosphere that encourages everybody to experiment comfortably. No previous performance\u00a0experience is required. This workshop explicitly invites people to join, who feel shy and awkward around talking in public.<\/p>\n

Artists and writers potentially to be discussed: Grada Kilomba, Hito Steyerl, Andrea Fraser, Tom Holert, Martha Rosler, Diedrich Diederichsen, Devin Kenny, Xavier Le Roy, Pauline Boudry \/ Renate Lorenz, Rabih Mrou\u00e9, Walid Raad, Jan Erbelding, Bruce Hainley, Ulf Aminde, JT LeRoy, Dan Graham, Coco Fusco, Spalding Gray, Juliette Blightman, Hans Haake, Rhonda Liebermann, Jan Verwoert, Sturtevant, Discoteca Flaming Star.<\/p>\n

Workshop will be held in English.<\/em><\/p>\n

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Max Grau <\/strong><\/a>(1988) studied Fine Arts in Saarbr\u00fccken, Berlin and Los Angeles. His work uses a variety of media such as video, text, email, performance, photography, drawing, sound and printed matter. Since 2016, he has been involved in *foundationClass, an educational project located at Kunsthochschule Weissensee in Berlin that tries to support refugee artists and art students to gain access to the German art school system. His work has been shown internationally, for example at Galerie La Croix, Los Angeles, Kunstmuseum Wolfsburg, Galerie Lily Robert, Paris, Pet Projects, Perth and Digital Art Centre, Taipei. His first book \u203aYou See I\u2019ve Always Wanted Things To Be Beautiful\u2039<\/em> was published by Hammann von Mier & Ruine M\u00fcnchen in February 2018.<\/p>\n

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Photo: SCCA-Ljubljana archive<\/p>\n