Ongoing

Willem de Rooij "PIERRE VERGER IN SURINAME" at Portikus

Exhibition, 27 March – 18 July 2021

Summer semester 2021

Information, 12 April – 16 July 2021

Lectures Summer Semester 2021

Online Lecture, 20 April – 8 July 2021

Willem de Rooij class: Premiere

Class Project, 7 – 21 May 2021

Upcoming: this month PreviousNext

Ellie Ga: Artist talk

Online Lecture, 18 May 2021, 19:00

David Gianotten: Contextual Engagement

Online Lecture, 20 May 2021, 19:00

Breaking Glass III – Virtual Space

Symposium, 28 – 30 May 2021

Archive: 2021 NextPrevious

Hassan Khan class: AUTONATURA

Class Project, 14 – 16 May 2021

Etta Madete: OCHA-African Avant-Garde

Online Lecture, 11 May 2021, 19:00

Banu Cennetoğlu: neither a mirror nor a hammer

Online Lecture, 6 May 2021, 19:00

Elif Saydam: The House Always Wins

Online Lecture, 20 April 2021, 19:00

STADL: Schtorona

Radio Show, 19 – 21 February 2021, 18:00–19:00

Willem de Rooij Class: Raum I7

Class Project, 19 February 2021

Rungdang

Event, 19 – 21 February 2021, 16:00–20:00

Bani Abidi: Funland

Online Lecture, 16 February 2021, 19:00

Olga Balema

Online Lecture, 4 February 2021, 19:00

Henrike Naumann: Aesthetics of Power

Online Lecture, 28 January 2021, 19:00

The Otolith Group: Infinity Minus Infinity

Online Lecture, 21 January 2021, 19:00

Manuela Moscoso: Liverpool Biennial 2021

Online Lecture, 19 January 2021, 19:00

Jason Mohaghegh: Dreams of the Last King

Online Lecture, 12 January 2021, 19:00

Daniel Birnbaum: The Temple—The Extraordinary Legacy of Hilma af Klint

Online Lecture21 July 2020, 19:00
Paintings for the Future, Guggenheim, 2018, photo: Daniel BirnbaumPaintings for the Future, Guggenheim, 2018, photo: Daniel Birnbaum

Hilma af Klint’s (1862-1944) paintings were intended to lead the viewer onto levels of awareness beyond those known from two-dimensional illusionism and three-dimensional reality, to allow her glimpses of another universe. She had plans for a spiralling architectural structure that would be built to house The Paintings for the Temple. Her work can today be seen in the light of Linda Nochlin’s 1971 essay ‘Why have there been no great women artists?’ and some of the answers to this question that she provides. Instead of only stressing the autonomous activity of a super-endowed individual, she explores the ‘total situation’ of art making. The work of art, says Nochlin, occurs in a social situation. Only within an institutional structure, determined by specific and definable institutions, be they art academies, systems of patronage, mythologies of the divine creator, or museums, can a ‘great’ work of art be appreciated as such. Posterity for Hilma af Klint does not only imply a new generation of viewers and artist. It implies institutions willing to question a canon in which she has no place.

Daniel Birnbaum (b.1963 in Stockholm/SE) is the director of Acute Art, a VR production company, as well as Professor of Philosophy at Städelschule. From 2010 until the summer of 2018 he was the director of the Moderna Museet Stockholm. Prior to this he held the position of rector of the Städelschule between 2000–2010. Next to his directing of the Städelschule and Portikus, Daniel Birnbaum has been curatorially involved in various biennials and projects in recent years. In 2016, he co-curated Hilma af Klint: Painting the Unseen at the Serpentine Galleries in London and Hilma af Klint: Possible Worlds in 2017 at the Pinacoteca in São Paulo in collaboration with the museum’s director Jochen Volz. Daniel Birnbaum joined the Hilma af Klint Foundation as an adjunct member of the board and special advisor for international programs. He is a contributing editor of Artforum and he has published numerous books and essays on philosophy and art, both in the framework of Städelschule and Portikus, as well as external engagements, including The Hospitality of Presence: Problems of Otherness in Husserl’s Phenomenology (1998), with Carsten Höller the book Production (2000) and Chronology (2005).

Registration

The lecture will be held in English.

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