The Events Archive provides information on all ZKM events since its founding in 1989. Festivals, concerts, dance and music-theater performances, lectures, conferences and workshops are committed to twentieth and twentieth-first century art, to the history of culture, the past and present in technology and science, as well as to questions relating to contemporary society and politics.
As part of two concert evenings, French composer Frédéric Acquaviva will be appearing at the ZKM_Kubus on 5th and 6th May. For his Cartes blanches, Acquaviva has been able to obtain both Loré Lixenberg, a world-famous mezzo-soprano in the opera and musical theater scene, and renowned pianist Mark Knoop, who will interpret a selection of Acquaviva’s musical works, composed for grand piano, vocals, live electronics and telematics alongside the composer / performer.
The first of Frédéric Acquaviva’s concerts on 5th May is completely characterized by vocals: Multimedia pieces for mezzo-soprano will be the main presentation. Since the early 1990s, Acquaviva has worked with many renowned (sound) artists, including important representatives of the artistic avant-garde of the previous century, such as the lettrist, Isidore Isou.
As part of »Loré Ipsum« – a piece dedicated to British voice artist Loré Lixenberg – a battery of defective electronic devices will be used. With the revised version of the »MESS« composition, which was created in 2015, Acquaviva confronts voice artist Lixenberg with digitalised sounds of a Buchla synthesizer.
Presentation and discussion on the installation »// supraliminal« with Greg Niemeyer and Paul Miller aka DJ Spooky.
The artists discuss their work »// supraliminal« and morphogenesis as a subject and a collaboration method at the same time.
Following the presentation and discussion you are warmly invited to join the inauguration party with DJ Deepthought and Lehel Lajos (Visuals) at the ZKM_Mint Lounge.
The »Markus Lüpertz. Kunst, die im Wege steht« [Markus Lüpertz. Art which Stands in the Way] exhibition honors the credit and work of Markus Lüpertz. Together with fellow painters, such as Georg Baselitz or Per Kirkeby, Lüpertz positioned Karlsruhe as an outstanding centre of German painting during his time at the Academy of Fine Arts, Karlsruhe (1974–1986).
The show draws an arc to the beginnings of Lüpertz’ artistic career: »Art that stands in the way« was one of his first presentations that took place in Berlin in 1966. The ZKM shows the lifework from five decades of one of the most significant German artists of the post-war generation.
The opening of the exhibition takes place on Friday, April 28, 2017 at 8 pm – we look forward to welcoming you!
Speakers at the opening:
- Frank Mentrup, Mayor of the City of Karlsruhe
- Walter Smerling, Management Foundation for Art and Culture
- Peter Weibel, Managing Director of ZKM | Karlsruhe
“Everything can come back. But nothing comes back as it once was. There is no return” – Peter Frankopan
Uncertainty and disorientation currently characterize the mood of Western democracies. Globalization, digitalization and the planned transatlantic trade agreement are viewed as a threat to individual identities by an increasing part of the population. The relationship of the individual to the world is altering: it has become more complicated and confusing.
This development is accompanied with a yearning for the past. The »good old days« are once again deemed the future model, as a time with seemingly more values, more satisfaction and, above all, more security than the perceived threats of the present day.
In Great Britain, the answer to globalization and the European crisis is to be Brexit. In the USA, an absurd president wants to make America great again by isolating it. Even the »Islamic State« is a model whose organization focuses on the past. The special national path is considered the new old remedy, fulfilling the yearnings for a new clarity.
Unanswered remains the question: How are the problems of the present meant to be solved with old concepts?
In the follow-up to the “Art in Europe 1945-1968. The continent the EU doesn’t know” exhibition, which took place from October 2016 until the end of January 2017 at the ZKM and can currently be visited in Moscow at the Pushkin State Museum of Fine Arts, Heinz Bude, Professor of Sociology at the University of Kassel, asks what idea, which concept Europe should incorporate into the future:
“Europe is neither the continent of human rights nor that of the welfare state. These would both be very lofty ideas of our region, which still makes up six percent of the world’s population over the medium term. Which origin promises what future here? Athens, Rome, Istanbul and Jerusalem are names of experiences, which have something to tell us.”
»We thought of ourselves as free because of the risks we’d taken, though we weren’t free at all«, Hettie Jones writes in her memoirs.
Have you ever heard of Hettie Jones? Or of Joyce Johnson, Carolyne Cassady, Joanne Kyger, Edie Parker, Joanna McClure, Denise Levertov or Elise Cowen? No? It’s not that uncommon; most people, even the ones who can recite the first lines of “Howl” off by heart, don’t know them. These women belonged to the US bohème of the ‘50s and ‘60s, to the circle of the Beat Generation. They loved jazz and poetry and almost all of them severed the ties with their families for their independent lifestyle.
In her presentation, Stephanie Fezer tells us about the women of the Beat Generation.
In »wah-wah«, Anna Konjetzky allows the public to take a look at six dancers as if through a microscope. A kaleidoscope of physical states, of constellations open up to the observer. As if in a chemical reaction, the bodies unite, pulsate together, repel each other, separate and orbit each other, are drawn together again.
»Wah-wah« begins almost amorphously: The dancers a swarm that seems to follow a non-determinable but intrinsic order, an unconscious or preconscious impulse, which triggers continuous chain reactions and fluidly produces ever new configurations of bodies among one another. Until the swarm collapses into its individual components, causing solos and duets to occur. Irritations emerge, bodies block each other, attract one another, repel each other, take over the repertoire of motion of their counterpart, lean towards each other, exhaust each other, in order to reform a shared rhythm, an energy-charged, connecting entity, which increasingly intensifies. The happenings on the stage resemble the principle of a black hole, which sets everything in motion at its edges, in order ultimately to absorb it, to unite and to produce an even higher density – layer by layer, loop by loop.
In the ninth edition of the IMA_experiments series, an audio-visual live performance by group A and an eclectic DJ set by Philip Berg awaits the audience.
The Japanese avant-garde synth wave duo group A bewitches the audience with experimental noise, DIY post-punk, outstanding visuals and performance art. Since the foundation of group A in 2012, Tommi Tokyo (synthesizer, vocals, percussion) and Sayaka Botanic (violin, cassette tapes) have appeared alongside Japanoise scene greats such as Acid Mother Temple, Merzbow, Nisennenmondai, Phew and Melt Banana. In the meantime, the two women are touring nomadically between Asia and Europe and also presenting their limited edition debut record, which was published at the end of September last year by Polish label Mecanica, [70+a=].
DJ and connoisseur Philip Berg mixes celestial new age sounds with herbaceous electronica and avant-garde techno. With his series of Tropic Rhonda events, he is an inherent part of Frankfurt’s nightlife, although Hamburg’s Golden Pudel Club and Offenbach’s Club Robert Johnson are also enthusiastic about Philip Berg’s eclectic DJ sets.
On the occasion of the »Albrecht Kunkel: QUEST« exhibition, the ZKM is presenting Michelangelo Antonioni’s cult film »Zabriskie Point« in cooperation with the Kinemathek Karlsruhe.
The legend of America as a wonderland of limitless opportunities was – if you follow the gaze of the Italian director – in as sorry a state in 1970 as the unredeemed ideals of the hippie movement. Antonioni allows the violence between the revolutionary movements of students and the restrictive police escalate to civil war-like proportions. Daria and Mark meet each other on the run from this deeply divided society. The cult film is well known for the love-in scene of the two amateur actors in the monumental rock formations of Death Valley and the most epic explosion in film history set to the music of Pink Floyd.
The film, produced using American widescreen format CinemaScope, is projected with a 35 mm copy with German synchronisation.
Before the film, curator Erec Gellautz provides a brief introduction about the references between Kunkel’s work and Antonioni’s drama. In 2006, 36 years after the end of the shooting, Albrecht Kunkel portrayed the leading actress Daria Halprin in a pose, which is based on the apocalyptic end of the film. He also borrowed aerial photographs of the geographic Zabriskie Point for his »Aerial Views« series. In the portrait session, Halprin explained, »In the sixties we still had a tremendous amount of innocence. I hope that young people today have some of that left but I am not so sure. We believed that we could change the world.«
Following a curatorial guided tour through the »Beat Generation« exhibition, Philippe-Alain Michaud talks about the movement and their stylistic means.
The so called »Beat generation«, that appears just after the Second World War is the first generation of writers to make a systematic use of the technics and tools of reproductibility. Firstly, the typewriter is not only employed as a simple tool but also allows to speed up and mechanize the process of writing. Furthermore, the phonograph, the mimeograph and the tape recorder are used to transform the very nature of language. In adopting the culture of reproductibility, William Burroughs, Allen Ginsberg, Jack Kerouac and many others were breaking with the old myth of romanticism to create a new literature freed based on the concept of subjectivity.
Jami Cassady will give a talk about her parents Neal and Carolyn Cassady as part of the exhibition »Beat Generation«.
They say, »behind every good man there is a good woman«, and that is especially true of my mother, Carolyn Elizabeth Robinson Cassady. After graduating from Bennington College she moved to Denver to pursue her master's degree in Theater Arts at Denver University. It was in Denver that she met Neal Cassady.
Jami Cassady will be touching on her many artistic achievements.
The question Jami Cassady get asked most often is: »How was it growing up with Neal as your father? I bet it was really wild«. Actually, she didn't know about any of his fame, or that the men that came over for dinner and conversation were anything but Uncle Jack and Uncle Allen.
Seven artists, three from Germany and four from Iran, met during a stay at the Cité Internationale des Arts in Paris. They are now organizing a German-Iranian exchange project. The German artists spent three weeks as guests in Teheran. In return, they are inviting the Iranian artists to Germany for six weeks. They all compiled various film sequences and photographic material with the aim of examining cultural differences and similarities.
At the end of this process, an exhibition will be held in both Iran and Germany. Paintings, objects, videos and performances are emerging from the intercultural dialogue and these will be on display for three days here in Karlsruhe from 14.04.2017 in the offspace platform »Im Hinterzimmer«.
- Hossein Bayat
- Ata Hasheminejad
- Roohalla Maleki
- Nadjana Mohr
- Lisa-Marie Pfeffel
- Simon Pfeffel
- Ziba Rasooli
In his analysis of western societies, media philosopher Vilém Flusser described a structural transitional phenomenon at the beginning of the 1980s: The mass-media power relations and their rigid opinion channels towards the public were in the process of being dissolved. On the horizon, a net company was emerging, in which dialog between equals establish an individual consensus. Along the way, however, »fascist cross connections« had to be confronted – attempts by mighty nodules in the net (Alexander Galloway) to control the net dialog to suit their own interests.
Today, about 30 years later, the hopes of many net activists of the 1990s to set up egalitarian societies through the internet are replaced by disillusion. The networked media have long since taken up systemic characters (Siegfried Zielinski). In their extreme cases, they facilitate platforms for demagogic initiatives such as right-wing alt-right movement and their mouthpiece, the extreme right US news website Breitbart. In Germany, Pegida and groups of translocal hatred significantly organize themselves through social networks. However, the fascist cross connections make a particular impact beneath the surface of our screens: It’s not just since the NSA scandals and the predicative analytics and microtargeting initiatives in the US elections that it has become apparent how persuasive communication strategies can be further optimized by evaluating user behavior.
Followed by Vesselin Popov' s lecture about the risks and opportunities of Big Data, Peter Weibel and Siegfried Zielinski will be discussing the current situation with guests and the audience in an open forum.
Please note: Lectures and discussions will be held in English.
- Florian Cramer (Rotterdam University of Applied Science)
- Daniel Irrgang (Karlsruhe University of Arts and Design)
- Matteo Pasquinelli (Karlsruhe University of Arts and Design)
- Vesselin Popov (The Psychometrics Centre, University of Cambridge)
To mark the 40th anniversary of the assassination of Attorney General Siegfried Buback and his companions, the Attorney General of Germany has invited investigators and experts to discuss the question of what terrorism is and how it can be tackled.
Former terrorism investigator and Assistant Attorney General Rainer Griesbaum, the former chief of the Federal Chancellery Jörg Ziercke, member of the Bundestag and lawyer Renate Künast, the court expert and psychiatrist Prof. Norbert Leygraf and scholar of Islam Guido Steinberg will be participating in the discussion. The Mayor of Cologne, Henriette Reker, will also be interviewed. ARD terrorism expert, Holger Schmidt will be moderating.
The international conference »Digital innovation in theatre« investigates a broad spectrum of current issues related to the digitisation of theatre. Initiated by the »European Theatre Convention« (ETC), the conference features leading digital experts from a variety of cultural sectors. In panel talks, speeches, presentations and workshops, distinguished guests will discuss creative possibilities and share their expertise with theatre makers.
Founded in 1988, the ETC promotes European theatre as a vital social platform for dialogue, democracy and interaction that responds to, reflects and engages with today’s diverse audiences and changing societies. ETC fosters a socially engaged, inclusive notion of theatre that brings Europe’s cultural, social and linguistic heritage to audiences and communities everywhere.
The conference in Karlsruhe also kicks off the ground-breaking EU-wide project titled »European Theatre Lab: Drama goes digital« (ETL). As Europe’s first think tank devoted to researching the theatre of the future, the Lab will explore in a series of public events, conferences and festivals how the digital revolution affects aesthetics, audience participation and communication and dissemination in theatre. The »European Theatre Lab« is a partnership between the »European Theatre Covention« and 6 European state repertory theatres and an Advisory Board with experts from science, technology, media and the performing arts. Badisches Staatstheater Karlsruhe is one of the project partners.
People involved in the theatre and digital experts from all over Europe will be meeting at the ZKM for the kick-off on April 7, 2017, at the English conference »Digital Innovation in Theatre«, which is being organized together with the ZKM I Center for Art and Media Karlsruhe.
European Theatre Convention
hosted by STAATSTHEATER KARLSRUHE and ZKM I Center for Art and Media Karlsruhe
The »European Theatre Lab: Drama Goes Digital« project has been developed with the support of the Creative Europe programme of the European Union.
On the search for tonal depth and perfection, the »Daidalos Percussion Quartet« not only integrates exotic, less well-known instruments, but is also focusing increasingly on the construction of its own instruments. This is how it impresses its public through a spectacular stage set and a wide range of sound – which can be seen and heard at the ZKM on 5th April 2017.
The Quartet has been working together since November 2014 and was able to achieve its first joint success in February 2015 at the “International Percussion Competition Luxembourg”. The four artists won 1st prize and the “Ady Mootz” prize for the best interpretation of a final compulsory piece. As well as the rhythmic precision and distinct interaction, the tonal diversity and expressivity of the ensemble was decisive for the jury.
Aya Fujita, Vanessa Porter, Richard Gläser and Johannes Werner are all currently studying at the State University of Music and Performing Arts Stuttgart under Prof. Marta Klimasara, Prof. Klaus Dreher, Jürgen Spitschka and Harald Löhle. All four are prize-winners of various national and international music competitions and give concerts as a quartet and in other formations at festivals in Germany and throughout Europe.
At this »Science Tuesday«, an audio-visual presentation and an electro acoustic performance by sound artist Lasse-Marc Riek will be presented as part of the EFFEKTE Science Festival.
The Rhine at the gates of Karlsruhe has many faces. The German Federal Waterways and Research Institute (BAW) and the ZKM | Music and Acoustics Institute invite you to learn about the countless facets of the river and take an unusual video journey of sound from Iffezheim to Karlsruhe. A mixture of aerial views, landscapes and sound recordings together with short interviews with experts from the German Federal Waterways and Research Institute (BAW) portray technical aspects of the waterway, while showing its unique recreational area.
The performance of the soundscape collage of sound artist Lasse-Marc Riek will round off the evening in the Tollhaus.
In 2012, Macao-based Portuguese sound artist Álvaro Barbosa and Angolan Musical Instrument Designer Victor Gama embarked on a former 1970s oceanographic boat to begin a ten-day expedition to the Antarctic continent. Drifting between the islands off the Antarctic Peninsula, they collected video and audio recordings that would become inspirational artistic material for their upcoming creations.
Through the lens of his camera, Barbosa captured the overwhelming natural beauty of Antarctica and published a book of photographs to share with the public a collection of inspiring images from this artistic expedition. The concert in the ZKM features music pieces improvised and composed by Barbosa, played jointly by the American/ Chinese Pianist Christine Hong and other guest musicians. They will perform experimental electro-acoustic compositions featuring the interactive music device developed and patented by Barbosa (the »Radial String Chimes«).
Videos and sounds recorded on the Antarctic Peninsula will be projected and played during this performance, transporting the audience to a journey of majestic nature in the »Last Frontier«.
»Journey to the Last Frontier«
for Violoncello, Disklavier, Video and Live-Electronic
for Violoncello and Live-Electronic
Álvaro Barbosa & Paulo
for Violoncello, Video and Live-Electronic
As a poet, composer, visual artist and interpreter of his own pieces, Gerhard Rühm is considered a cross-over talent avant la lettre. As part of the programmatic exhibition series »Poetic Expansions« and his retrospective ”soon | just | now«, the ZKM presents a soirée with the crossover artist of music, letters and radical language experiments. The program includes a selection of solo texts and duets, during which music scientist and publisher Monika Lichtenfeld will support the language artist.
Gerhard Rühm’s poetic work is situated in the tradition of literary expressionists, such as August Stramm, and Dadaists, like Hugo Ball and Kurt Schwitters. As a member of the »Wiener Gruppe«, Rühm has contributed considerably to continuing the traditions of sound poetry violently interrupted by the National Socialists, even rediscovering it.
His rare live appearances lead to the limits of linguistic thoughts and articulation. Rühm’s repertoire comprises sound poems, which are only realized by the breathing of the presenter in their most reduced form. Rühm has compiled the typical vernacular of his Viennese homeland into dialect texts, in which the sounds produce a congenial sound piece, which no longer has any semantic meaning.
If the limits of our language are really the limits of our world – as Ludwig Wittgenstein writes in his Tractatus Logico-Philosophicus (1921) – then the work of Gerhard Rühm attempts to throw all limits wide open.
For this reason, Gerhard Rühm also provided a variation of Ludwig Wittgenstein’s famous sentence »Whereof one cannot speak, thereof one must be silent«. It states: »Whereof one cannot speak, thereof one must sing«.
In this sense, the ZKM promises an exciting and entertaining reading with Gerhard Rühm and Monika Lichtenfeld.
With »The Smell of Ink«, the ZKM is dedicating the first extensive retrospective in Germany to London-based artist, printer and publisher Hansjörg Mayer.
Mayer has not merely become one of the most important protagonists of concrete and visual poetry with his typographic experiments. In collaboration with artists such as Dieter Roth, Richard Hamilton or Tom Phillips, he also irreversibly enhanced the range of printables in art.
The opening of the exhibition takes place within the exhibition series »Poetic Expansions«, together with »Nanni Balestrini: For anyone reading ths there is nothing left to fear« and »soon | just | now. gerhard rühm as intermedia pioneer« on Friday, March 31, 2017 at 7 pm – we look forward to seeing you!
The elaborate exhibition »soon | just | now. gerhard rühm as intermedia pioneer« exemplarily presents the poetic, visual and musical creation of the artist.
The opening of the exhibition takes place within the exhibition series »Poetic Expansions«, together with »Nanni Balestrini: For anyone reading ths there is nothing left to fear« and »Hansjörg Mayer: The Smell of Ink« Friday, March 31, 2017 at 7 pm – we look forward to welcoming you!
Gerhard Rühm (born in 1930 in Vienna) is a virtuoso in the development of intermedia thresholds and expanded forms of media expression. His work poetically combines sculptures, music, literature and performance and, in overcoming ‘traditional’ categories, opens up new aesthetic fields of context. At the same time, Rühm’s work provides intellectual enjoyment and encourages expanded perceptions, in which the fixed ways of speaking and thinking are transcended in a conceptual and humorous way.