(nicht) diskret, aufgelöst – Praktiken des monitoring (eines schwindenden Subjekts)
The lecture presents artistic works dedicated to (trans-) media realism, repeatedly pointing to the point where a phenomenon becomes a form. More than about the forms themselves, it is about the refusal, appropriation, negotiation around the techniques of creating or finding form: instruments of analytical thinking, such as counting and measuring, models and diagrams, plus telecommunication and the programming of if/then. The presentation focuses on the gesture of monitoring, especially in relation to the image of the (territorial) border and the establishment of a control room to materialize territories. @HfG Karlsruhe, November 2022
The lecture is part of the panel Composting Feminist Methodology developed with Fedora Hartmann, Joshua Ben Pesch, Katja Stüben, Jannis Steinke as members of Kompostistische Internationale. @Social Change in a Feminist Perspective: Situating Gender Research in Times of Political Contention, 11th European Feminist Research Conference 15-18 June 2022, University of Milano-Bicocca, Milan
In concern of methodology
The performance lecture reflects creativity in relation to one's (formal) methods.
@ATW Institut for Applied Theater Studies, November 2021
staywithme (in public space)
le qualità dello spazio dell’arte come spazio ricettivo (plurimo, intimo, intersoggettivo), il valore dell'atto artistico come negoziazione e transfer, ovvero: quando il cosa è soprattutto il dove.
@Murate Art District Florence, November 2021
about the contextualization of art practice as a value of art, with Evamaria Schaller and Franziska Windisch.
@C.A.R. ART TALKS, May 2021
ESTHETICS OF THE CUT: SCHNITTSTELLEN, DISCRETIZATION, BORDERING MIT BEZUG AUF KÖRPER, AKTIONEN UND RÄUME
Der Schnitt als besondere Formgebungstechnik – die gestaltet, Ordnungsmuster antizipiert oder gar diskrete Körper konfiguriert - und als abstrakteste Metapher davon, wie Wahrnehmung vorstellbar ist: ein gewalttätiges Bild für eine mögliche Aneignung von und eine aktive Teilnahme an Realität.
@weißensee kunsthochschule berlin, January 2020
It has affected me / Es hat mich betroffen gemacht
Korrespondenz/en über Empfindlichkeiten, Ausdruck und Strategien des betroffen Machens, in conversation with Sabine Folie for Veränderte Verhältnisse / Altered Affairs
@VALIE EXPORT Center Linz, October 2019
A panel on art, curatorial and critical practices in contemporary times, with Tiziana Terranova, Alessandra Ferlito, Renata Summo-O’Connell, Monica Sassatelli.
@Università l’Orientale Napoli, May 2019
Paesemuseo come un (possibile) approccio comunitario alla ricerca e alle pratiche dell'arte (contemporanee)
talk for the conference 50 E OLTRE paese museo l'utopia possibile
@Teatro Comunale San Sperate, May 2018
Needs Of Arts
talk for the Thai-German Conference on New Media Art @King Mongkut's Institute of Technology Ladkrabang Bangkok, February 2017
A performance lecture for The SOCIAL – International Association for Visual Culture biennial conference @Boston University, September 2016
La técnica del tajo
limite, traza, formas emergentes – anotaciónes y obras, lecture @Universidad Nacional Bogotá, November 2014
blind spots: some strategies of how to deal with the open
The lecture refers to the function of order and disorder in art, to the material and immaterial aspects of cognition and shaping, and to the (aesthetic) experience with the open. Martin Heidegger should have stated: "Even the lark is not able to see the open". It collects fragments of reflections on the methodology of a possible aesthetic research, quoting from some European philosophy, applied scientific methodology, and artistic practice. What the frog's eye tells its brain, when it detects a bug, and why is it necessary that we do not see our blind spots, and how computed detection and some self-blinding practice are used in art–these are some of the questions the lecture applied to channel the narrative.
@EESI Poitiers, March 2012
As we know the human eyes can only recognize the light between 770 to 390 nm wavelength, so what we see about the world is like the tip of the iceberg. Therefore human beings have created a variety of equipment to help themselves see more. We can not help but look forward to seeing more because of the natural curiosity of mankind: As far as viewing behavior, viewing habits and viewing ways are concerned, mankind always breaks through the visual limits by different ways.
Opening lecture for the exhibition @Boutique Cologne streamed to Space5306 Shanghai, July 2011
FACTORS OF ART
Some basics on telecommunication and multivariate data analysis (while cooking Italian)
with the participation of Britta Fehrmann, Ji Hyun Park, Karin Lingnau
performance lecture for Surveillance Architecture Group, event @room2 KHM Cologne, May 2011
exercises on cognitive performance (in public space)
In collaboration with: raumgreifen! and art cologne, the public lecture took place @Domplatte Cologne, April 2009
about cognition as an act and the aesthetics of command lines as plots
Underlining the aesthetical aspects of cognition as something you can stage and perform referring to the metaphers of computation, counting and measurement. The lecture presents gestures as cognitive units (pieces of reality) and performative plots as experimental measurement units of spaces or situations ("artificial" gestures produced in order to represent reality). View and action: the point of view is also a question of access to an observation framework.
@China Academy of Art in HangZhou, March 2009
AV-ludens / on the psychogeography of the moving image
Planes / lines / scores: architectural and situationistic observations on the moving image: This narrative––both its theoretic background as the visual references––is not a thesis, I would like to defend; it represents just the trial of some locating performance: where are the coordinates, after which the moving image can be described, shaped, interpreted; what does constitute its mediality and its aesthetic relevance? These questions do not structure a talk, but maybe they can embrace some movements in line with a talk, in the same way a map is not able to explain––not to describe––a landscape.
The map just reproduces the texture you will need, in order to recognize an item on a landscape––if subject, object or score: the map is the image of the claim to orient oneself, and not the one of a landscape or territory just to exist––as an object.
@UdK Berlin, April 2007