Jan
19
6:00 PM18:00

VERNISSAGE: SABINE MAJA BREMERMANN

        1.TIME - NEGENTROPY - RELATIVITY       This is the First Chapter of writing about Luxury. We don't know how will this text finish, but here we open ourselves to chance. We will let this text to write itself; to be crumpled and unfinished at times, it will crack and flow consistently, and maybe once in a while, it will be done. This chapter should deal with time. But it should also deal with complexity, uncertainty, probability, relativity, entropy and negentropy. It will question history, a complex and non-linear system, which counts in endless feedback loops, couplings and interferences. What makes history non-linear, is that it only understands events when they are lived, effected, but never those who are becoming. The ‘event in its becoming ’ is the level of the historical fact/date that the (discursive) measuring devices of the historical sciences do not grasp. The becoming of the event ‘ has neither beginning nor end, but only a milieu. It is thus more geographical than historical’ (Deleuze). Can we therefore observe time outside the discursive measuring apparatus? The concept of 'history as becoming' tells us that if there is unity, it doesn't mean there is uniformity, but rather exploration of multiplicity, an analysis of variations.  Kulturfolger will in next two and a half months host events that are not islands one to another, with fixed boundaries, but rather actualizations of temporality, of fleetingness. They will have to interact to each other; with time they will sediment in the space, leaving residue, traces of their experimental nature. The result will be in becoming of the event, an opulent cornucopia of aggregations.     First Chapter on TIME - NEGENTROPY - RELATIVITY started on Sat 13-01-2018 6:00pm and it will end on Wed 28-03-2018 11:59pm.  Second section of the First Chapter will take place on Fri 19-01-2018 6:00pm with Sabine Maja Bremermann.

 

 

1.TIME - NEGENTROPY - RELATIVITY



 
This is the First Chapter of writing about Luxury. We don't know how will this text finish, but here we open ourselves to chance. We will let this text to write itself; to be crumpled and unfinished at times, it will crack and flow consistently, and maybe once in a while, it will be done. This chapter should deal with time. But it should also deal with complexity, uncertainty, probability, relativity, entropy and negentropy.
It will question history, a complex and non-linear system, which counts in endless feedback loops, couplings and interferences. What makes history non-linear, is that it only understands events when they are lived, effected, but never those who are becoming. The ‘event in its becoming ’ is the level of the historical fact/date that the (discursive) measuring devices of the historical sciences do not grasp. The becoming of the event ‘ has neither beginning nor end, but only a milieu. It is thus more geographical than historical’ (Deleuze).
Can we therefore observe time outside the discursive measuring apparatus? The concept of 'history as becoming' tells us that if there is unity, it doesn't mean there is uniformity, but rather exploration of multiplicity, an analysis of variations.

Kulturfolger will in next two and a half months host events that are not islands one to another, with fixed boundaries, but rather actualizations of temporality, of fleetingness. They will have to interact to each other; with time they will sediment in the space, leaving residue, traces of their experimental nature. The result will be in becoming of the event, an opulent cornucopia of aggregations.
 
 
First Chapter on TIME - NEGENTROPY - RELATIVITY started on Sat 13-01-2018 6:00pm and it will end on Wed 28-03-2018 11:59pm.

Second section of the First Chapter will take place on Fri 19-01-2018 6:00pm with Sabine Maja Bremermann.

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Jan
13
6:00 PM18:00

Performance: EAT ME

 ABOUT: Eat me challenges social norms in a western society obsessed with diets and self-presentation. Eat Me starts with Julie Peter gets tapped for half a liter of blood. The blood is made in to a traditional Danish blood sausage, which is baked and then fried. The performance will end with a dinner where the audience will be invited to eat the blood sausage and there by be a part of the art work. Vacuum packed blood sausage will be on offer in the end of the performance.  Announcement: It must be stated that there are no health hazards associated with eating Julie Peters blood as it is fully cooked. In accordance to European law it is not illegal to prepare, handle or consume human blood.  BIO: Julie Peter (born 1985) is a danish artist based in Berlin, Germany. Her works explores the absurd in the normal through organic objects, moods and spaces, whose ironic distance is left as dreaming comments to the norms of everyday life. Her work challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. She finds that the contradictions between believe and behavior reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. Julie Peter has a BA from the Royal Danish Academy of Fine Arts’s and currently studying sculpture at the Weissensee Academy of Fine Arts in Berlin.  www.juliepeter.dk

ABOUT:
Eat me challenges social norms in a western society obsessed with diets and self-presentation. Eat Me starts with Julie Peter gets tapped for half a liter of blood. The blood is made in to a traditional Danish blood sausage, which is baked and then fried. The performance will end with a dinner where the audience will be invited to eat the blood sausage and there by be a part of the art work. Vacuum packed blood sausage will be on offer in the end of the performance.

Announcement:
It must be stated that there are no health hazards associated with eating Julie Peters blood as it is fully cooked. In accordance to European law it is not illegal to prepare, handle or consume human blood.

BIO:
Julie Peter (born 1985) is a danish artist based in Berlin, Germany. Her works explores the absurd in the normal through organic objects, moods and spaces, whose ironic distance is left as dreaming comments to the norms of everyday life.
Her work challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. She finds that the contradictions between believe and behavior reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. Julie Peter has a BA from the Royal Danish Academy of Fine Arts’s and currently studying sculpture at the Weissensee Academy of Fine Arts in Berlin.
www.juliepeter.dk

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Dec
20
8:00 PM20:00

Thema Talks: Caroline Ann Baur

  Join us for Kulturfolger's eleventh and final session of Thema Talks with Caroline Ann Baur.   ABOUT  Her essay   „All that is solid melts into mucous“  , speaks of a mucus passage between different theories and literature dealing with the female abject, directed towards a materialist multiplicity of becoming. Mucous is between touch, more than nothing, beyond numbers, a sign for potentiality. (She will be reading parts of the essay and would enjoy to meditate on the subject together with you.)  BIO  Caroline Ann Baur is a Zürich-based writer, musician and activist. In her words she moves between essayistic and theoretical writing, sound-installations, performative and collaborative experiments. She is a co-member of Raum:Station, a collectively organized space for performative, discursive and experimental music formats.

Join us for Kulturfolger's eleventh and final session of Thema Talks with Caroline Ann Baur.


ABOUT

Her essay „All that is solid melts into mucous“, speaks of a mucus passage between different theories and literature dealing with the female abject, directed towards a materialist multiplicity of becoming. Mucous is between touch, more than nothing, beyond numbers, a sign for potentiality. (She will be reading parts of the essay and would enjoy to meditate on the subject together with you.)

BIO

Caroline Ann Baur is a Zürich-based writer, musician and activist. In her words she moves between essayistic and theoretical writing, sound-installations, performative and collaborative experiments. She is a co-member of Raum:Station, a collectively organized space for performative, discursive and experimental music formats.

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Dec
4
7:00 PM19:00

The Analog Sessions: Kulturfolger

Poster_A3.jpg

Could luxury be on the other side of critique? A positive potential and ground for aspiration. The sum of all impulse. Can we make full use of our exorbitant surplus? Can we make new luxurious narratives, which enchant us, acknowledge our mastership, our comedy or our elaborate tragedy? Can we imagine sumptuous sustenance and voluptuous decadence for all whether be it time, space, material,
relational or activity? Lets invent splendid intellect, opulent ideas, and manifest with insane ability. Lets destabilize, detach, abstract from stable statistical rationalization by telling new stories. Perhaps a lost paradise can be found. We conceive abundance.

Kulturfolger’s 2018 program is staged in five acts, engaging a triad of concepts and multiple actors.This talk will provoke the possibility of luxury.
 

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Nov
29
8:00 PM20:00

Performance: Nicolas Puyjalon

 ABOUT:   This performance, involving the construction and attempted ascent of make-shift structures will take it’s departure from the myth of Sisyphus, «... The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor. As for this myth, one sees merely the whole the whole effort of a body straining to raise the huge stone, to roll it, and push it up a slope a hundred times over; one sees the face screwed up, the cheek tight against the stone, the shoulder bracing the clay-covered mass, the foot wedging it, the fresh start with arms outstretched, the wholly human security of two earth-clotted hands. At the very end of his long effort measured by skyless space and time without depth, the purpose is achieved. Then Sisyphus watches the stone rush down in a few moments toward that lower world whence he will have to push it up again toward the summit. He goes back down to the plain. If this myth is tragic, that is because its hero is conscious. Where would his torture be, indeed, if at every step the hope of succeeding upheld him? One always finds one’s burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He concludes that all is well. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.» wrote Camus, that is my idea of survival, of persistence.   BIO  After studying Performance and Sound Poetry at the Beaux-Arts in Toulouse, Nicolas Puyjalon moved to Berlin where he collaborated with the gallery L’Atelier-ksr, Leila Peacock, Zabo Chabiland, Nicolas Malclès-Sanuy, Estelle Vernay or Judith Lavagna. His performances have been presented in institutions such as Palais de Tokyo (2017), Espace Louis Vuitton (2015), Le Musée de la Chasse et de La Nature (2013), as well as in many festivals in France and internationally. He was recently in residency in France, and in Canada.

ABOUT:


This performance, involving the construction and attempted ascent of make-shift structures will take it’s departure from the myth of Sisyphus,
«... The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor. As for this myth, one sees merely the whole the whole effort of a body straining to raise the huge stone, to roll it, and push it up a slope a hundred times over; one sees the face screwed up, the cheek tight against the stone, the shoulder bracing the clay-covered mass, the foot wedging it, the fresh start with arms outstretched, the wholly human security of two earth-clotted hands. At the very end of his long effort measured by skyless space and time without depth, the purpose is achieved. Then Sisyphus watches the stone rush down in a few moments toward that lower world whence he will have to push it up again toward the summit. He goes back down to the plain. If this myth is tragic, that is because its hero is conscious. Where would his torture be, indeed, if at every step the hope of succeeding upheld him? One always finds one’s burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He concludes that all is well. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.» wrote Camus, that is my idea of survival, of persistence.


BIO

After studying Performance and Sound Poetry at the Beaux-Arts in Toulouse, Nicolas Puyjalon moved to Berlin where he collaborated with the gallery L’Atelier-ksr, Leila Peacock, Zabo Chabiland, Nicolas Malclès-Sanuy, Estelle Vernay or Judith Lavagna. His performances have been presented in institutions such as Palais de Tokyo (2017), Espace Louis Vuitton (2015), Le Musée de la Chasse et de La Nature (2013), as well as in many festivals in France and internationally. He was recently in residency in France, and in Canada.

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Nov
22
8:00 PM20:00

THEMA TALKS: ADAM BOBBETTE

 Join us for the 10th session of Thema Talks with Adam Bobbette.     ABOUT: This presentation is about the mass extinction of birds today. It is about how we live with and make sense of it. It will take up this issue through a discussion of song bird competitions in Indonesia in which men teach song birds to sing the songs of extinct species. Based on fieldwork with bird trainers and at competitions, it will discuss the relationships between men and birds, the economics of the caged bird trade, and environmental destruction. From another angle, it will also discuss the history of the study of bird language by western scientists and the ways that bird song has become a model for understanding the development of human language and communication. Both of these stories are about interspecies relationships and knowledge, nostalgia, and remorse, within a context of extinction.  BIO: Adam Bobbette is a geographer and writer. He is completing his PhD at the University of Cambridge and has written for the Times Literary Supplement, Cabinet, N+1, The Cambridge Quarterly, and the King’s Review. He is currently completing two books, an edited collection about the politics of geology, and a cultural history of nature forecasting.  

Join us for the 10th session of Thema Talks with Adam Bobbette.

 

ABOUT:
This presentation is about the mass extinction of birds today. It is about how we live with and make sense of it. It will take up this issue through a discussion of song bird competitions in Indonesia in which men teach song birds to sing the songs of extinct species. Based on fieldwork with bird trainers and at competitions, it will discuss the relationships between men and birds, the economics of the caged bird trade, and environmental destruction. From another angle, it will also discuss the history of the study of bird language by western scientists and the ways that bird song has become a model for understanding the development of human language and communication. Both of these stories are about interspecies relationships and knowledge, nostalgia, and remorse, within a context of extinction.

BIO:
Adam Bobbette is a geographer and writer. He is completing his PhD at the University of Cambridge and has written for the Times Literary Supplement, Cabinet, N+1, The Cambridge Quarterly, and the King’s Review. He is currently completing two books, an edited collection about the politics of geology, and a cultural history of nature forecasting.
 

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Nov
15
7:00 PM19:00

PERFORMATIVE READING: CRISTIAN FORTE

 ABOUT: Presentation of the fingerprint alphabet, poems and sound performance.    BIO: Cristian Forte / Poet was born in 1977 in Buenos Aires. From 1999 to 2006, he was a member of political art group Etcétera, an interdisciplinary group influenced by surrealism of Buenos Aires. Since 2009 he lives in Berlin. In 2010 he founded the non-publishing house Milena Berlin. Together with Katja von Helldorff, he formed a band called Leiseylento. In 2014, together with Érica Zíngano, he was awarded at the Soundout Festival / New Ways of Presenting Literature for the project KM.0. In 2015 he curated the project RAUMumDICHTUNG in Berlin, commissioned by the Kulturamt Friedrichshain Kreuzberg. Together with Mirella Galbiatti and Ginés Olivares he curated a Workshop-Performance "The city as a pinhole camera" for the Forum Stadtpark in Graz. In 2016 he was artist-in Residence at The Harbor / Beta-Local San Juan, Puerto Rico, and a guest of the 19. Hausacher Reading in Lenz. During winter semester 2016-2017 he was teaching creative and uncreative writing at the Freien Universität Berlin. Cristian Forte's texts can be found in the anthologies such as "El Tejedor en Berlín" (LUPI, Bilbao, 2015), "Sucede que soy América" (Crater Invertido, México 2015) and "MMM DIARIUM "(Hybriden Verlag, Berlin, 2016). In addition, his drawings was published in in "Neuquen-Neukölln" (Hudson Verlag, Argentina, 2017), next to Alfredo Jaramillo's and Jorge Locane's text and María Guerrieri drawings.   VIDEOS Lautgedicht POLIC. BOT. O. N.  https://www.youtube.com/watch?v=-Prol-1qGjA   Hybriden Verlag  http://hybriden-verlag.blogspot.de/2017/01/mit-carlblechenkann-man- immer-sprechen.html?spref=fb  Performance Visual Poetry  https://vimeo.com/137813452   FINGER ALPHABET Ausstellung _ Kein Ort sondern ein Zustand  http://keinortsonderneinzustand.de/KOseZ-Ausstellung   Vortrag Sandra Hettmand / Heidelberg Uni  http://www.uni-heidelberg.de/fakultaeten/neuphil/iask/sued/iaz/20ht/sektionen/11_de.html   Magazin KARAWA _  http://www.karawa.net/content/polizeialphabet   MOTTO Distribution  http://www.mottodistribution.com/site/?tag=l-u-  p-i

ABOUT:
Presentation of the fingerprint alphabet, poems and sound performance.



BIO:
Cristian Forte / Poet was born in 1977 in Buenos Aires. From 1999 to 2006, he was a member of political art group Etcétera, an interdisciplinary group influenced by surrealism of Buenos Aires. Since 2009 he lives in Berlin. In 2010 he founded the non-publishing house Milena Berlin. Together with
Katja von Helldorff, he formed a band called Leiseylento. In 2014, together with Érica Zíngano, he was awarded at the Soundout Festival / New Ways of Presenting Literature for the project KM.0.
In 2015 he curated the project RAUMumDICHTUNG in Berlin, commissioned by the Kulturamt Friedrichshain Kreuzberg. Together with Mirella Galbiatti and Ginés Olivares he curated a Workshop-Performance "The city as a pinhole camera" for the Forum Stadtpark in Graz. In 2016 he was artist-in Residence at The Harbor / Beta-Local San Juan, Puerto Rico, and a guest of the 19. Hausacher Reading in Lenz. During winter semester 2016-2017 he was teaching creative and uncreative writing at the Freien Universität Berlin. Cristian Forte's texts can be found in the anthologies such as "El Tejedor en Berlín" (LUPI, Bilbao, 2015), "Sucede que soy América" (Crater Invertido, México 2015) and "MMM DIARIUM "(Hybriden Verlag, Berlin, 2016). In addition, his drawings was published in in "Neuquen-Neukölln" (Hudson Verlag, Argentina, 2017), next to Alfredo Jaramillo's and Jorge Locane's text and María Guerrieri drawings.


VIDEOS
Lautgedicht POLIC. BOT. O. N.
https://www.youtube.com/watch?v=-Prol-1qGjA

Hybriden Verlag
http://hybriden-verlag.blogspot.de/2017/01/mit-carlblechenkann-man-immer-sprechen.html?spref=fb

Performance Visual Poetry
https://vimeo.com/137813452

FINGER ALPHABET
Ausstellung _ Kein Ort sondern ein Zustand
http://keinortsonderneinzustand.de/KOseZ-Ausstellung

Vortrag Sandra Hettmand / Heidelberg Uni
http://www.uni-heidelberg.de/fakultaeten/neuphil/iask/sued/iaz/20ht/sektionen/11_de.html

Magazin KARAWA _
http://www.karawa.net/content/polizeialphabet

MOTTO Distribution
http://www.mottodistribution.com/site/?tag=l-u- p-i

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Oct
27
8:00 PM20:00

(QUASI)-TOOLBOX: SILENT DIALOGUING

 (Quasi)Tool Box: Silent Dialoguing  Aleksandra Ścibor + Bettina Diel  27.10.2017, 20 Uhr   --- (Quasi)Tool Box: Silent Dialoguing  Join us for this special event and experience yourself in a dialouge, immersed in pink water balls, with our artwork of the month by Bettina Diel.  Come explore the meditative and playful potentiality of this quasi tool!  The workshop-like situation is organised into a map, yet its territory is entirely yours.  Enjoy!   Facilitated by: Aleksandra Ścibor and Bettina Diel  Aleksandra Ścibor - embodiment artist, dancer, choreographer. Currently working with the students of the BA Theater at the Zurich University of the Arts.

(Quasi)Tool Box: Silent Dialoguing

Aleksandra Ścibor + Bettina Diel

27.10.2017, 20 Uhr


---
(Quasi)Tool Box: Silent Dialoguing

Join us for this special event and experience yourself in a dialouge, immersed in pink water balls, with our artwork of the month by Bettina Diel.

Come explore the meditative and playful potentiality of this quasi tool!

The workshop-like situation is organised into a map, yet its territory is entirely yours.

Enjoy!


Facilitated by: Aleksandra Ścibor and Bettina Diel

Aleksandra Ścibor - embodiment artist, dancer, choreographer. Currently working with the students of the BA Theater at the Zurich University of the Arts.

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Oct
25
to Oct 29

KULTURFOLGER AT ON/OFF KUNST ZÜRICH 17

Piero Good with Kulturfolger at KunstZürich 17
On/Off Booth A13 | ABB Hall | Richarda-Huch-Strasse | 8050 Zurich-Oerlikon | www.onoff.today

Opening Hours:
Thursday 26th October: 16.00 - 22.00h
Friday 27th October: 12.00 - 20.00h
Saturday 28th | Sunday 29th October: 11.00 - 19.00h

85_flyer_OnOff_a6.jpg

Hide, seek, walk, run, sit, speak, look, lie down. Choreographic movements of clarity, conciseness, and translation. Perhaps, the principle of reason is to exist, and this "reason" is the deviation, which marks our being, our world-making, our presence, our participation, and our speaking. A weird universal identity which follows strict rules under a sun of sameness. Could we be the opposite? Deviants and stray devils which embody and essence not bound to zero or absurd equilibrium, rejoicing in departures which occur spontaneously, with no cause or no end.  Digressions from the mean produce miraculous multiplicity. Take a detour. Come play. Visit us in a room overflowing with distraction. Dance through a land of objects where space becomes wilderness, and our imagination is beyond limits.

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Oct
18
8:00 PM20:00

THEMA TALKS: SANDRA LANG

  Join us for Kulturfolger's ninth session of Thema Talks with Sandra Lang.       ABOUT:    Chirality a scientific narrative:  This talk will explore the topic of medical knowledge which is in the orchestra of sciences. Medical science is inferior and dedicated to the the ill, the sick, the degenerate, and the pathetic. Medicine is deviant and is it not the norm. The unspoken and implicit hierarchy infects the discipline and reflects the fossilized pre-ideas remaining from the paradigm of the unity of science.       BIO:    Sandra Lang, is a currently attaining her Ph.D. at the Ludwik Fleck Center of the Collegium Helveticum. She is working on a scientific sociological sub project on chirality as a molecular property and related implications for the transfer of knowledge in biomedicine. Between October 2013 and March 2014, she worked as an intern at the Ludwik Fleck Center and assisted Martina Schlünder within the framework of the project "The Serological Works of Ludwik Fleck (1896-196) and her relevance for today's biomedical practice and for the history and theory of biomedicine ». Within the framework of this project, her master thesis was also developed under the theme "gain in translational medicine through the theory and practice of Ludwik Fleck". She accrued her master's degree in sociology at the University of Freiburg she focused on the fields of knowledge and science sociology as well as gender studies.

Join us for Kulturfolger's ninth session of Thema Talks with Sandra Lang.

 

ABOUT: 

Chirality a scientific narrative:

This talk will explore the topic of medical knowledge which is in the orchestra of sciences. Medical science is inferior and dedicated to the the ill, the sick, the degenerate, and the pathetic. Medicine is deviant and is it not the norm. The unspoken and implicit hierarchy infects the discipline and reflects the fossilized pre-ideas remaining from the paradigm of the unity of science. 

 

BIO: 

Sandra Lang, is a currently attaining her Ph.D. at the Ludwik Fleck Center of the Collegium Helveticum. She is working on a scientific sociological sub project on chirality as a molecular property and related implications for the transfer of knowledge in biomedicine. Between October 2013 and March 2014, she worked as an intern at the Ludwik Fleck Center and assisted Martina Schlünder within the framework of the project "The Serological Works of Ludwik Fleck (1896-196) and her relevance for today's biomedical practice and for the history and theory of biomedicine ». Within the framework of this project, her master thesis was also developed under the theme "gain in translational medicine through the theory and practice of Ludwik Fleck". She accrued her master's degree in sociology at the University of Freiburg she focused on the fields of knowledge and science sociology as well as gender studies.

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Sep
28
8:00 PM20:00

PERFORMATIVE READING: THE BALTIC ATLAS

 THE BALTIC ATLAS … is a gradient between two questions. The first: "what is possible to imagine?" focuses on interpretations, fictional stories, analyses, and reflections on the ongoing processes, and proposes future projections. The second: "what is possible?" is an inquiry into the methods, resources, and parameters that define space. Parallel discourses are positioned next to each other—overlaid in an atlas that works in range of different modes. An atlas is a medium that unravels multiple ways of seeing the region of the Baltic States as an intensification of networks, agendas, and ideas that are relevant on a global scale. This publication offers a sense of an open-ended ecology of spatial practices—a forum on what is to come.   BIO: Dagnija Smilga and Karlis Berzins as practicing architects, scholars, researchers, and curators for the past 12 years has been operating between Zürich, Vienna and Riga. Their latest projects include publication “The Baltic Atlas” and co-curating and designing exhibition "The Baltic Pavilion" - Estonian, Latvian and Lithuanian representation in the 15th International Architecture Exhibition - La Biennale di Venezia 2016.

THE BALTIC ATLAS
… is a gradient between two questions. The first: "what is possible to imagine?" focuses on interpretations, fictional stories, analyses, and reflections on the ongoing processes, and proposes future projections. The second: "what is possible?" is an inquiry into the methods, resources, and parameters that define space.
Parallel discourses are positioned next to each other—overlaid in an atlas that works in range of different modes. An atlas is a medium that unravels multiple ways of seeing the region of the Baltic States as an intensification of networks, agendas, and ideas that are relevant on a global scale. This publication offers a sense of an open-ended ecology of spatial practices—a forum on what is to come.


BIO:
Dagnija Smilga and Karlis Berzins as practicing architects, scholars, researchers, and curators for the past 12 years has been operating between Zürich, Vienna and Riga. Their latest projects include publication “The Baltic Atlas” and co-curating and designing exhibition "The Baltic Pavilion" - Estonian, Latvian and Lithuanian representation in the 15th International Architecture Exhibition - La Biennale di Venezia 2016.

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Sep
22
8:00 PM20:00

THEMA TALKS: NIKOLA MARINCIC

    ABOUT: If quantum physics could talk to us about architecture, what would it say? Questions like this, as strange as they might sound, are far from being a fantasy in the context of contemporary mathematical and computational modelling. Within the paradigm of communication, we will ask architecture a question that it cannot answer alone, but get our answer nevertheless. The realisation of this possibility should help us reach another level of abstraction, from which the notion of architectural model could be reconsidered and expanded.  BIO: Nikola Marinčić is a postdoctoral researcher at the chair for Computer-Aided Architectural Design at ETH Zurich. He earned a PhD from the ETH, with a thesis entitled "Towards communication in CAAD: Spectral Characterisation and Modelling with Conjugate Symbolic Domains" in 2017. He graduated as an architect from the Faculty of Architecture in Belgrade, and completed a Masters of Advanced Studies programme in Architecture and Information at ETH Zurich in 2011. In 2012-13 he was a guest researcher at the Future Cities Laboratory, interdisciplinary research program of the Singapore ETH Centre for Global Environmental Sustainability.

 

ABOUT:
If quantum physics could talk to us about architecture, what would it say? Questions like this, as strange as they might sound, are far from being a fantasy in the context of contemporary mathematical and computational modelling. Within the paradigm of communication, we will ask architecture a question that it cannot answer alone, but get our answer nevertheless. The realisation of this possibility should help us reach another level of abstraction, from which the notion of architectural model could be reconsidered and expanded.

BIO:
Nikola Marinčić is a postdoctoral researcher at the chair for Computer-Aided Architectural Design at ETH Zurich. He earned a PhD from the ETH, with a thesis entitled "Towards communication in CAAD: Spectral Characterisation and Modelling with Conjugate Symbolic Domains" in 2017. He graduated as an architect from the Faculty of Architecture in Belgrade, and completed a Masters of Advanced Studies programme in Architecture and Information at ETH Zurich in 2011. In 2012-13 he was a guest researcher at the Future Cities Laboratory, interdisciplinary research program of the Singapore ETH Centre for Global Environmental Sustainability.

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Aug
30
8:00 PM20:00

THEMA TALKS: MIRO ROMAN

thema miro.jpg

ABOUT:
Void or How to Deal with a LOT

A lot of images, architectural blogs, Dezeen, ArchDaily, internet, public space, fashion, Tokyo, Vetements, Barad, brand, void, measurement, empty center, data, 10 years of online architectural publishing, 300 000 images, a weather prognosis, a cloud, an architectural mutant, flavors of contemporary architecture, avatars… dive right into it; filter, search, crawl, articulate. Use machine learning. Write a poem, or code a couple of them. Make sense of what is in fashion now. Compose your own “online mask” - play with information.


BIO:
Miro Roman is an architect, a researcher, an artist, a designer, and none from the stated. His main focus is at the overlap of information technologies and architectural articulations.
Miro holds a Master of Advanced Studies degree in Computer Aided Architectural Design from ETH Zurich, and a Master in Architecture degree from the University of Zagreb. Since 2004 he is collaborating with Luka Vlahović on project romanvlahovic. From 2013 to 2015 he was a part of the Future Cities Laboratory, interdisciplinary research programme of the Singapore ETH Centre for Global Environmental Sustainability (SEC). Currently he is a PHD researcher at the Chair of CAAD at ETH Zürich.

http://miro.romanvlahovic.com/

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Aug
23
8:00 PM20:00

THEMA TALKS: ELISA BERTUZZO

 ABOUT:  RECUPERATING FIELDWORK: UNTOLD STORIES FROM THE GANGES DELTA What is fieldwork? A race against time; full-immersion in the lives of dozens of people, and peculiar solitude; cognition and self-experience; planning and implementing. To me, fieldwork has always also meant a confrontation with personal and practical shortcomings—those that generally are avoided and eventually vanish in the written, said, explained, interpreted of an ethnographer. For once, this practice shall be inverted: I’ll focus the instances of speechlessness and failure of a long phase of research in Bangladesh and West Bengal, thus recuperating stories that I couldn’t, or wouldn’t, tell. In search of images less seen, and voices less heard, from the region.   BIO:  Elisa T. Bertuzzo is a cultural scientist based in Berlin. She has published on issues such as perception and representation of space, urbanisation in South Asia, ethnography, the correlations of formality/informality, as well as on Lefebvre's theory of production of space. In her forthcoming monograph, Archipelagos: Urbanisation told by people-on-the-move, she focuses movement and translocalisation in, from and around Bangladesh and West Bengal (India).

ABOUT:

RECUPERATING FIELDWORK: UNTOLD STORIES FROM THE GANGES DELTA
What is fieldwork? A race against time; full-immersion in the lives of dozens of people, and peculiar solitude; cognition and self-experience; planning and implementing. To me, fieldwork has always also meant a confrontation with personal and practical shortcomings—those that generally are avoided and eventually vanish in the written, said, explained, interpreted of an ethnographer. For once, this practice shall be inverted: I’ll focus the instances of speechlessness and failure of a long phase of research in Bangladesh and West Bengal, thus recuperating stories that I couldn’t, or wouldn’t, tell. In search of images less seen, and voices less heard, from the region.


BIO:

Elisa T. Bertuzzo is a cultural scientist based in Berlin. She has published on issues such as perception and representation of space, urbanisation in South Asia, ethnography, the correlations of formality/informality, as well as on Lefebvre's theory of production of space. In her forthcoming monograph, Archipelagos: Urbanisation told by people-on-the-move, she focuses movement and translocalisation in, from and around Bangladesh and West Bengal (India).

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Jun
21
8:00 PM20:00

Thema Talk: Cord Riechelmann

 Join us for the sixth session of Thema Talks with Cord Riechelmann.     Cord Riechelmann, born in Celle in 1960, studied biology and philosophy at the Freie Universität Berlin. He was lecturer for the social behavior of primates and the history of biological research. He also worked as a columnist and Stadtnaturreporter for "Berliner Seiten" of the Frankfurter Allgemeine Zeitung. His main interest is the living conditions of nature in the culture of urban living spaces.

Join us for the sixth session of Thema Talks with Cord Riechelmann.

 

Cord Riechelmann, born in Celle in 1960, studied biology and philosophy at the Freie Universität Berlin. He was lecturer for the social behavior of primates and the history of biological research. He also worked as a columnist and Stadtnaturreporter for "Berliner Seiten" of the Frankfurter Allgemeine Zeitung. His main interest is the living conditions of nature in the culture of urban living spaces.

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Jun
14
7:30 PM19:30

Quote Club

  Join us for the fifth session of Quote Club where we will delve into different readings of MULTISPECIES. We will read two texts: Nature's Queer Perfomativity by Karen Barad and Bringing Things to Life: Creative Entanglements in a World of Material by Tim Ingold. Excerpts from selected texts will be provided in the space and can be found here:  www.kulturfolger.ch/read-me/

Join us for the fifth session of Quote Club where we will delve into different readings of MULTISPECIES. We will read two texts: Nature's Queer Perfomativity by Karen Barad and Bringing Things to Life: Creative Entanglements in a World of Material by Tim Ingold. Excerpts from selected texts will be provided in the space and can be found here: www.kulturfolger.ch/read-me/

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Jun
9
8:00 PM20:00

Thema Talk: Eva Franch I Gilabert

  Join us for Kulturfolger's fifth session of Thema Talks with Eva Franch I Gilabert.   Eva Franch is an architect, curator, educator and lecturer of experimental forms of art and architectural practice. Franch specializes in the making of alternative architecture histories and futures. Since 2010, Franch is the Chief Curator and Executive Director of  Storefront for Art and Architecture  in New York.  Franch has taught at Columbia University GSAPP, the IUAV University of Venice, SUNY Buffalo, and Rice University School of Architecture. Franch has taught and lectured internationally on art, architecture, and the importance of alternative practices in the construction and understanding of public life at educational and cultural institutions.  Franch has received numerous awards and fellowships, and her work has been exhibited internationally including FAD Barcelona, the Venice Architecture Biennale, the Vitra Design Museum, and the Shen-zen Architecture Biennale, among others. Recent publications by Franch include Agenda (Lars Muller, 2014) and Atlas (Lars Muller, 2015) both as part of OfficeUS. An upcoming publication, the OfficeUS Manual will be published in 2017.

Join us for Kulturfolger's fifth session of Thema Talks with Eva Franch I Gilabert.

Eva Franch is an architect, curator, educator and lecturer of experimental forms of art and architectural practice. Franch specializes in the making of alternative architecture histories and futures. Since 2010, Franch is the Chief Curator and Executive Director of Storefront for Art and Architecture in New York.

Franch has taught at Columbia University GSAPP, the IUAV University of Venice, SUNY Buffalo, and Rice University School of Architecture. Franch has taught and lectured internationally on art, architecture, and the importance of alternative practices in the construction and understanding of public life at educational and cultural institutions.

Franch has received numerous awards and fellowships, and her work has been exhibited internationally including FAD Barcelona, the Venice Architecture Biennale, the Vitra Design Museum, and the Shen-zen Architecture Biennale, among others. Recent publications by Franch include Agenda (Lars Muller, 2014) and Atlas (Lars Muller, 2015) both as part of OfficeUS. An upcoming publication, the OfficeUS Manual will be published in 2017.

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May
31
8:00 PM20:00

Thema Talk: QUentin Lejeune

     Join us for Kulturfolger's fourth session of Thema Talks with Quentin Lejeune.  ABOUT   Assessing by how much human activities have brought our climate outside of its natural variations - which would « commonly » be observed if we humans weren’t here - has become a raison d’être for many climate scientists.  One phenomenon that they have noticed over the last decades is that one can observe more and more leaves at the surface of the Earth, and this is understood as a response to human activities. This “uncommon bloom” is certainly fascinating as a scientific fact. But since our relationship to climate change is rarely neutral, depending on our sensibilities we may perceive this fact differently – somewhere between a profanation and an opportunity.  BIO Quentin LEJEUNE Born in 1990, grew up in Normandy, France. Since last year he holds a PhD in climate science from ETH Zürich. He is currently pursuing research in the same institute, focusing on the past and future climatic impacts of changes in land-use, especially deforestation and the expansion of agriculture. He likes to study and discuss the topic and climate change from multiple perspectives: scientific, but also political (for example through his commitment in an NGO with which he attended the international climate negotiations), as well as economic and philosophical positions.    

 

Join us for Kulturfolger's fourth session of Thema Talks with Quentin Lejeune.

ABOUT

Assessing by how much human activities have brought our climate outside of its natural variations - which would « commonly » be observed if we humans weren’t here - has become a raison d’être for many climate scientists.

One phenomenon that they have noticed over the last decades is that one can observe more and more leaves at the surface of the Earth, and this is understood as a response to human activities. This “uncommon bloom” is certainly fascinating as a scientific fact. But since our relationship to climate change is rarely neutral, depending on our sensibilities we may perceive this fact differently – somewhere between a profanation and an opportunity.

BIO
Quentin LEJEUNE
Born in 1990, grew up in Normandy, France.
Since last year he holds a PhD in climate science from ETH Zürich. He is currently pursuing research in the same institute, focusing on the past and future climatic impacts of changes in land-use, especially deforestation and the expansion of agriculture. He likes to study and discuss the topic and climate change from multiple perspectives: scientific, but also political (for example through his commitment in an NGO with which he attended the international climate negotiations), as well as economic and philosophical positions.

 

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May
20
to Jun 18

Uncommon Bloom/Vernissage

Uncommon Bloom(n.)

\ˌən-ˈkä-mən ˈblüm \

Fascination, rarity, beauty, decoration charged with meaning and history, an algal bloom and a flowering plant, the difference between genders and anatomy, the gap between lovers, the ephemerality of life and of death, an object of desire enforcing theiving, distillation, and preservation, models of growth, geography and economy, the heroes and the villains, the icons and the antigonists,  the aliens and the natives, a plethora of translations, multiple layers and multiple natures...

Imagine a botanist’s daydream… this dream transcends time and space and includes the fine details of a horticultural love affair. Do these plant lovers  delight in the miniature monkeys or ballerinas embodied by an orchid? Or of capturing the essence of an orange blossom?  Do they dream of maidens lavishly adorned with potato flowers? Or do they fulfill their unaddressed sexual fantasies through the intimate exploration of stamens and pistils?  Do they imagine drifting off on a mossy bulbs of green or to the rustle of palm leaves whilst laying in tropical sands, or is it rather, their desire of the detailed delicacies- small gems of fascination, curiously perpetuated by a bloom?

A flower, a bloom - a strange creature, if not nutritious or medicinal – than a divine gift, sign, symbol, decadence, or decoration. The multitude of floral patterns seem to play the role of signatories, arriving as if to say, “we approve, we attend, we adorn, enhance--lavish ourselves"! on this exquisite setting. The symbolism of flowers in art has established a cannon, yielding a kind of Floriography. For thousands of years, different articulations of nature, and in this case flowers, have been made, whether through science, poetry, or classification. In essence a history.

In the Renaissance, the strangeness of flowers was a spectacle, a ‘show’ with the arrangement of things on a ‘table’. Henry VIII, surrounded himself with lilac blooms just for the pleasure of the intoxicating smell. Amusement of floriculture fastly spread over Great Britain, and in 19th century, a placebo for boredom, and lush gardens became a haven from the trials of life, a mediation for the ladies in their private domain, where men were not allowed.

In the 18th century, when Linnaeus began to classify and create order, he was accused of  denying god. One obscene creation was the Horologicum Florae, a clock constructed of three categories of blooms, the Meteorici that open and close with the weather, the Tropici which follow the changing hours of daylight, and the Aequinoctales, which  “open precisely at a certain hour of the day and generally shut up every day at a determinate hour.” It was a true love, a utopian phantasm of painstaking order.

Alexander von Humboldt (18c.) followed his bliss and hunger for flowers, when world travel was ensued only as necessity. How did his passion inspire patrons to fund his endless search forbeauty? Were they aware in would result in the science of bio geography? Did his tropical flowers and ideas of the cosmos allude to a deep seated need for totality of the world?

 Pliny the Elder (77 AD.) on the thresholds of Classical rationality, dreamt with the gods of an order inclusive of art and morality.  Did his mistrust the ephemerality of flowers, lead him to obsessively define life through his fear of death? Rousseu (18th century) wrote copious letters of elegant pedagogical prose, inspiring  the wonder of the botanical world to a patron’s daughter.  The letters did not contain a single word of Latin. Rather than memorizing classifications, she could learn about the plants and flowers while she held the plant in hand, through his delicate and realistic descriptions. Jane C. Loudon,(19th century) was similar as she emancipated the garden from classification and into the hands of the feminine. 

Cesalpino and Ghini (16th century) desired to preserve this extravagant preciousness, or solidify the anima (soul) of the plant through their hortus seccus (herbarium), under the aegis of botanical science? If not for their desire for knowledge, perhaps they were interested in a new way of connecting things both to the eye and to discourse. In this case a new history.

Things are never as they seem. The complexity of the world does not suddenly increase, it never does.  Nature doesn’t abruptly become dense, obscure, and blurry- it is our ever changing interpretations of nature, and our desire to classify it for a specific comprehension and the mechanisms of history, in which we must go from wide to narrow. It was, as Foucault reminds us - necessary for History to become Natural, if only for our human understanding. The (Somnambulist ) botanist writing was perhaps a response to be able to describe this inexplicable strange richness, which may have been present all along.

Natural history, a precursor to science, traces only “objective” reality,  in order to placate our need to know, name, recognize and understand through a systematic lens. Yet, when symbolism crosses with history, an uncommon thing occurs: a botanist daydream, a queer celebration, alchemy of things and matter overlap, a taxonomy of useless beauty is created- We crave understanding and reality, yet we also enjoy wallowing in myth and dreamlike states.

 

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May
5
10:30 AM10:30

Quote Club

  Join us for the forth session of  Quote Club  where we will delve into different readings of  BLOOM . We will read excerpts from texts by Gregory Bateson, Georges Bataille, Roland Barthes,   Clarice Lispector and others. Excerpts from selected texts will be provided in the space.   The session will start at 19.30 Uhr.

Join us for the forth session of Quote Club where we will delve into different readings of BLOOM. We will read excerpts from texts by Gregory Bateson, Georges Bataille, Roland Barthes, Clarice Lispector and others. Excerpts from selected texts will be provided in the space.
The session will start at 19.30 Uhr.

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