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TAGGED: ►University Koblenz ]DE] +++ Academy of Visual Arts Leipzig [DE] +++ University of Iowa [USA] +++ North Western University Evanston [USA]Exterminate, Forget, Repress: The Shoah and its Aftershocks to the Present Day | Organized by Prof. Dr. Beate Reifenscheid and Rafael Vostell | Symposium at the Ludwig Museum Koblenz and at the University of Koblenz-Landau as part of the exhibition Art After the Shoah: Wolf Vostell in dialogue with Boris Lurie | November 30 – December 2, 2022 | The symposium compares for the first time the artists Boris Lurie and Wolf Vostell under the sign of their common confrontation with the Shoah in Germany as well as in America after 1945. ►more
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SOIR CRITIQUE: NO!art AND JEW-ART | Organisation: Inga Schwede and Eiko Grimberg | Academy of Visual Arts | Leipzig | June 18 til 24, 2002: "Articulating the past does not mean recognizing it 'as it actually was.' It means seizing a memory as it flashes at the moment of danger." - The fear of the old in the new evokes terror. Walter Benjamin has the awareness of the progression of the catastrophe and he had it before the catastrophe. ►more
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Symposium on the occasion of the exhibition NO!art AND THE AESTHETICS OF DOOM | Curator Estera Milman | Mary and Leigh Block Museum of Art Northwestern University | Evanston, IL | November 3, 2001: On the other hand, because NO! was transparently political, its members escaped the Abstract Expressionists' unresolved struggle with the crisis of meaning. Wart's messages were meant to be "read" as political critique; the collective's collaborative events were intended to induce direct and unmitigatedly savage experience of the unspeakable. As Seymour Krim insisted in his contribution to NO!art: Pin-ups, Excrement, Protest, Jew Art, Wart's calculated extremism was a "brutal effort to cope with a brutish environment [intended to strike the receiver] like a rock hurled through a synagogue window." The collective's weapons of choice were a belief in art's ability to participate in cultural transformation, massmedia reifications of suburban affluence, politically incorrect sex, nuclear devastation, and genocide. The NO!artists are insistent that the collective did not distinguish among the massmarketing of women, the Cuban missile crisis, political assassinations in the Congo, civil rights battles in the South, the carnage of Hiroshima, and the Nazi-induced destruction of European Jewry. ►more
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Symposium on the occasion of the exhibition BORIS LURIE: Knives in Cement and Other Selected Constructions Curated by Estera Milman | University of Iowa Museum of Art | March 5 and 6, 1999: This symposium is affiliated with The University of Iowa's Global Focus Human Rights celebration which commemorates the fiftieth anniversary of the United Nations' ratification of the Universal Declaration of Human Rights, an international consensus that many scholars argue would not have been achieved were it not for the incomprehensible horror of the Holocaust experience. Upon their return from Weimar in the Fall of 1999, Lurie's work from the late 1950s through the mid-sixties will be installed in the UIMA galleries as one important component of the retrospective exhibition NO!art and the Aesthetics of Doom. ►more
