Instagram story viewer> @klassewidmann> Posts

AdBK München

@klassewidmann

451

followers

62

following

Klasse New Genres

POSTS STORIES REELS TAGGED

Short Circuits

Opening: 18.7.26 | 14:00 - 22:00
19. - 26.7.26 | AdBK München | A.01_01

Gina-Marie Bross
Laura Buecheler
Amelie Cha
Maxi Friedl
Max Frohn
Elias Haindl
Helena Nowotny
Chalo Schwaiger
Hannab Sperandio

Klasse New Genres | Kunstpädagogik

Kuratiert von Franziska Sophie Wildförster by @klassewidmann

49

0

3 months ago

DEAD OR ALIVE
Talk

John Miller’s mannequin works cover a charged terrain where an object designed for commercial display becomes a site of psychic instability. Drawn from his long-standing engagement with commodity culture, these figures—straight out of retail store windows—stage the human form as both inviting and estranged. Their blank physiognomies and generic bodies do not simply mimic life; they expose its reduction to a reproducible image, a script already written by the logic of consumption. In this sense, Miller’s mannequins are less representations of people than indices of a social condition in which subjectivity is formed through interpolation.

Miller’s mannequins involve “playing with dead things,” as his friend Mike Kelley once put it, namely playing with things that seem to recall the body, even as they deny it. Their familiarity is excessive, overdetermined by cultural codes, and it is this overfamiliarity that produces unease. As Sigmund Freud suggested, the uncanny arises when something once known returns in estranged form, “a hidden, familiar thing… that has undergone repression and then emerged.” Miller underscores the social and economic conditions that give rise to these forms. His mannequins are not haunted relics so much as fully contemporary artifacts: products of bodies displayed and circulated as images, commodities, and data.

This tension between animation and inertia, subject and object, is amplified in Miller’s new collaborative project with Danish artist Nina Beier, The Populace, at the ARoS Aarhus Kunstmuseum. Conceived as an immersive installation, the exhibition deploys mannequins set before rows of anonymous portraits to construct a dense field of reciprocal gazes, in which viewer and viewed seem to trade places. Here, the uncanny is no longer confined to the individual figure but distributed across a network of bodies, images, and spectators—where identity, authenticity, and value demand renegotiation.

Talk

11.06.2026 7 pm

Studio Widmann A 2.30

Workshop

12.06.2026 10 am – 1 pm

Studio Widmann A 2.30 by @klassewidmann

34

0

4 months ago

Auf der Grundlage meines 2024 veröffentlichten Buches Flexibler Faschismus. Siegfried Kracauers Analysen rechter Mobilisierungen damals und heute möchte ich einige Facetten von Faschismus kurz darstellen. Da ist erstens die Ersetzung von Politik – als Konflikt, der ausgetragen werden kann – durch Gewalt als einer (antipolitischen) Beziehung zu existenziellen Feind:innen. Zweitens das Ausmaß, in dem Faschismus mobilisiert. Er stellt weniger still als dass er in dauernder Unruhe hält, regelrecht flexibilisiert – und freisetzt: nämlich destruktive Kräfte, gegen als “wertlos” stigmatisierte Körper. Und drittens ist da die Zerstörung von Wahrheit, von kollektiven Unterscheidungsfähigkeiten – Stichwort flood the zone with shit (von Trump-Berater Steve Bannon).

Das gilt für die Zeit vor 100 Jahren, als der Soziologe und Kritiker Siegfried Kracauer diese Bewegungen analysierte (vor und nach seiner Flucht aus Nazi-Deutschland). Und es gilt für heute – und da können wir (sehr) kurze Streiflichter auf andere, neuere Auseinandersetzungen mit Faschismus werfen: von Hannah Arendt bis Dagmar Herzog, Alberto Toscano, Eva von Redecker und Laurie Penny.

Drehli Robnik (* 1967) ist Kritiker und Theoriedienstleister in Sachen Politik, Film und Geschichte, sowie Edutainer und Disk-Jockey (Sonntag´sdisco) in Wien. Sein Doktorat stammt von der Universität Amsterdam (2007). Er hat Monografien zu Anti-Nazi-Filmen, zu Jacques Rancière, Kontrollhorrorkino, Pandemie-Spielfilmen und zu populärem Kino und Politik veröffentlicht. Zuletzt erschienen: Flexibler Faschismus. Siegfried Kracauers Analysen rechter Mobilisierungen damals und heute (2024); und (mit Gabu Heindl): Nonsolution: Zur Politik der aktiven Nichtlösung (2024; englische Neufassung 2026). Ein Buch zu vorletzten Wahrheiten in der Politik ist in Fertigstellung.

Workshop und Lektüre

09.06.2026 16:30

Studio Widmann A 2.30 by @klassewidmann

13

0

4 months ago

20.04.2026 | Screening and discussion

While experiencing writer’s block in developing this film, and waiting for inspiration to strike, it hit the filmmaker that all of the friends she intended to shoot, her so-called muses, had ADHD. Drawing a connection between her muses — charismatic centers of attention — and the generalized assault on our attention centers, Van-Huy uses ADHD as a fake theme around which to engage her muse-friends in interviews and in improvised activities based on these conversations, to make what she calls an “Action Documentary.”

Bernadette Van-Huy, an artist, is best known for Bernadette Corporation, the artist group she co-founded in NYC in the 90s.
Bernadette Corporation’s legacy is for blending art, fashion, film and literature, in a cultural spree, challenging systems and subverting normal practices. It works by adopting contemporary entertainment modes for its own experimental purposes, and has created a unique and lasting mark.

Bernadette Corporation’s projects range from its eponymous fashion label of the 90s, which garnered a cult following, to the collectively-authored novel Reena Spaulings, published by Semiotext(e), 2005, to the anti-documentary Get Rid of Yourself, combining footage of rioting at the 2001 G-8 summit in Genoa with performances by Chloe Sevigny and members of the Black Bloc anarchist group. Bernadette Corporation has exhibited in galleries and museums such as the Whitney Museum, NY, the ICA, London, the Centre Pompidou, Paris, and has been featured in The NY Times, The LA Times, The Guardian, and Harper’s Bazaar.

This event takes place in collaboration with Anke Dyes, Professor for Writing and Research.

The screening will be followed by a discussion with Bernadette van Huy.

Screening

20.04.2026 6 pm

Studio Widmann A 2.30

Discussion with Bernadette van Huy (via zoom)

20.04.2026 8 pm

Studio Widmann A 2.30 by @klassewidmann

26

0

5 months ago

TALK
In a commented screening I will show examples of my documentary film practice reflecting on the modalities of filming in public spaces and how these have changed over time. This will be followed by the presentation of a more recent project, BLOCKEN, in which I use live streaming to construct a documentary narrative in realtime. In these filmmaking performances, the audience witnesses a collaborative process unfold in a decentralised way.

WORKSHOP
The next day, during the workshop, we will analyse this recent project more closely, picking up on contemporary debates around immediacy and the desire for unmediated presence in visual culture. We will explore the working method in a simplified way, using the cameras of our mobile phones for live-streaming sessions in small groups, followed by discussions of the results and the potential for non-hierarchical forms of collaboration in film.

BIO
Nina Könnemann is a contemporary video artist. Since the 2000s, she has developed her video practice alongside installations and sculpture. The camera of Nina Könnemann borrows from realistic cinema and structural materialism. Located at the crossroads of Vertov’s „Cinema-Eye“—which records a reality that the habit would prevent from seeing— and Anglo-Saxon experimental cinema, such that of Hollis Frampton and Michael Snow, where the consciousness of the medium is omnipresent, Könnemann closely examines marginal spaces, human behavior and subcultures. As an observer of public spaces, Könnemann documents in detail how social relations produced by social conditioning are manifested in the form of micro-interactions. (Joseph del Pesco)

Recent exhibitions include: BLOCKEN/Further Reductions, Haus am Waldsee, Berlin; Did Women make Stone Tools, Gandt, New York; Frankfurt Marathon en direct, Treize, Paris and Old Dogs, Galerie Lars Friedrich, Berlin.

Talk

20.01.2026 7 pm

Studio Widmann A 2.30

Workshop

21.01.2026 10 am – 1 pm

Studio Widmann A 2.30 by @klassewidmann

30

0

9 months ago

16. – 17.12.2025 | Talk and workshop

In her public talk, Angharad Williams will present recent projects as well as current concerns surrounding the structural conditions and economy of means of artistic production and exhibition making. Embedded in a conversation about historical and present notions of autonomy, restrictions and artistic critique, the workshop will engage in a practice of individual situative mapping.

Angharad has been asking herself and others „What are we in now???“ as a way to consider our collective moment in art historical terms. In the workshop we will seek to explore this question through collective writing and discussion.

Angharad Williams (b. Ynys Cybi, Wales) is an artist, writer, and performer who is concerned with the role of poetry in our increasingly militarised society.

Angharad has exhibited and performed at Haus am Waldsee, Berlin; KIN, Brussels; Simian, Copenhagen (all 2025); Museo Madre, Naples (2024); Reena Spaulings, New York (2023); Kunstverein Düsseldorf; Mostyn, Llandudno; Kunstverein München; Bonner Kunstverein (all 2022); Kevin Space Vienna (2021). Eraser, Angharad’s first book of fiction, was published by After8 Books, Paris, and Kunstverein Düsseldorf in 2023. This year, Williams will release Now Watch This Drive, a limited 12” vinyl, with Concentric Group, London, and the Bauhaus Foundation, Dessau. Angharad is a teacher in the Master’s Fine Art program at Zürcher Hochschule der Künste, Zürich.

Part of the ongoing series Das Politische der Kunst. A collaboration with Franziska Sophie Wildförster

Talk

16.12.2025 7 pm

Studio Widmann A 2.30

Workshop

17.12.2025 10 am – 1 pm

Studio Widmann A 2.30 by @klassewidmann

31

0

a year ago

TALK

Tracing part of my research, this presentation focuses on the use of video in the context of the Aids pandemic from the early 1980s, through the 1990s and into the early 2000s. In this presentation, I will focus in particular on the use of ‘self-writing’ on camera and first-person narration, by video artists from LGBTQIA+, feminist and anti-racist organizations, invested in processes of individual and collective emancipation. The presentation will be built around a selection of videos and excerpts from various practitioners such as Guillaume Dustan, Alexandra Juhasz and Juanita Mohammed Szczepanski.

The evening is open to all interested students, and will also provide an opportunity to meet with the group participating in the following day’s workshop.

WORKSHOP

The workshop will revolve around writing workshops, group readings, discussions, and the making of short films to explore first-person narration more directly. First, I’ll propose playful writing exercises that we can use on a daily basis to free up our writing or get down to work, and which we’ll practice together. Then we’ll translate these texts or bits of text into images, working as simply as possible with our phone, cameras, laptops or image recorders of our choice.

BIO

Pascaline Morincôme is a researcher, curator and teacher. She is particularly interested in alternative video and film forms, and the militant practices that can result from them. Among other projects, she co-organized with Sibylle de Laurens the Seedy Films cycle of lectures and screenings at the Bibliothèque Kandinsky and the Centre Pompidou cinema from 2017 to 2019. Between 2019 and 2020, she worked with Olga Rozenblum and Julien Laugier on the films of Guillaume Dustan, whose first retrospective took place in Paris in June 2019. She is a PhD student in art theory at the University of Saint-Étienne, and her thesis focuses on participatory and community video practices used as radical pedagogical tools by artists, activists and non-professional video-makers.

Talk

20.05.2025 7 pm

Studio Widmann A 2.30

Workshop

21.05.2025 10 am – 2 pm

Studio Widmann A 2.30 by @klassewidmann

11

0

a year ago

In this workshop, Mercedes Azpilicueta @mercedes.azpilicueta will work collaboratively with students on embodied and speculative writing, engaging with excerpts from An Art Student in Munich (1853) by proto-feminist British artist Anna Mary Howitt.
Students will participate in speculative writing exercises that reimagine the city—today or in the future—describing it from an embodied perspective, capturing its shifting landscapes, and sensing its layered histories. These reflections will continue to take shape in the exhibition space, where we will work with modular sculptures—rearranging and responding to them as extensions of our writing.
How do words and movement transform space? How do past and present collide in our perceptions?
Mercedes Azpilicueta (La Plata, Argentina, 1981) is a visual and performance artist from Buenos Aires who lives and works in Amsterdam. Her artistic practice brings together various characters from the past and present who approach the vulnerable or collective body from a decolonial feminist perspective. Through fluid and associative connections, she counters rigid historical narratives to dismantle them and create space for affective and dissident voices to emerge. Her work manifests in performative and sculptural installations, inspired by speculative and fictional Latin American literature, neo baroque art history, contemporary popular culture, and new materialism theory. Through collaborative and interdisciplinary practices, she combines “precarious” craft-based techniques—historically associated with obsolete domestic knowledge—with industrialized productions.

She was a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam in 2015-16 and received the Pernod Ricard Fellowship in 2017. Azpilicueta was nominated for the Prix de Rome 2021.

The workshop takes place in cooperation and with the kind support of Salta Art. @saltaartfoundation

All events will be held in english. Open to all students.
The number of participants for the workshop is limited.

Workshop
07.05.2025 10 am – 1 pm

An Art Student in Munich
Salvatorplatz 4 Luitpoldblock
80333 Munich by @klassewidmann

15

0

a year ago

„The session will serve as a platform for sharing recently uncovered material from the archives of photographer George Tourkovasilis (1944–2021) and sculptor Christos Tzivelos (1949–1995)—represented collectively by Akwa Ibom, Melas Martinos, and Radio Athènes—with minimal mediation. This will include images, excerpts from texts, correspondence, and collected ephemera. The talk will provide context on how we came to know the works of Tourkovasilis and Tzivelos, highlighting works created in the context of friendship—works made with a specific audience in mind but never published. Building on this, I will discuss Akwa Ibom and the 15th Baltic Triennial, co-curated with Tom Engels, in reference to exhibition-making that, despite its public nature, strives to preserve some of the personal (and interpersonal) qualities of the art discussed here.

The workshop can last up to three hours, but it will include students contributing references—excerpts from literature, movies, music, or anything they find interesting from their own work or others’. There will also be a shared discussion that aims to capture some of the directness of the conversations shared by Hong Sang-soo’s language teacher in A Traveler’s Needs. If student references can lead to suggestions for specific site visits, even better—one person’s reference could become the site where we get acquainted with someone else’s.“

@mayatounta is a curator, writer, and artist currently based between Athens, Greece and Vilnius, Lithuania. She is currently the director of Akwa Ibom (Athens), a nonprofit exhibition space which she co-founded with Otobong Nkanga in 2019. With Gerda Paliušytė, Gediminas G. Akstinas and Liudvikas Buklys, Tounta co-founded Montos Tattoo in Vilnius. From 2021 to 2022, she was Art Director at e-flux journal. In collaboration with Tom Engels, she co-curated the 15th Baltic Triennial at the Contemporary Art Centre in Vilnius in 2024. by @klassewidmann

42

0

a year ago

Dear all,

this saturday - als würde ihm nichts fehlen - with Chalo Schwaiger, Lily Tischer

warm regards by @klassewidmann

22

0

2 years ago