Vorlesungsverzeichnis

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Lehrveranstaltungen

Moderne und zeitgenössische Kunst: Künstlerische Praktiken (Seminar)

Dozent/in: Cheryce von Xylander

Termin:
wöchentlich | Donnerstag | 14:15 - 15:00 | 14.10.2019 - 31.01.2020 | C 5.325

Inhalt: Styles and philosophy of art appear to be co-evolving, though each being embedded in relatively autonomous fields. Sometimes new philosophical outlooks seem to engender new forms of artistic production and practice. Sometimes new ways of doing art seem to transform the interpretative categories through which these same works are understood. The entire system of meaning and expression sustaining artistic practice and experience is dynamic to a point that would appear to defy classification. Yet, without ordering categories there would be no artwork at all. These ordering categories produce not only definitions of art per se, but also concomitant conceptions of selfhood, personhood and mediation. They enable the dialectics within which such dualities as receptivity versus activity, irony versus earnestness and actuality versus virtuality come to be articulated. This module combines theoretical and practical coursework to explore the putative critical and emancipatory power of art. It seems that the ability to comprehend the fluidity of artistic practice and form enables cultural development. But how does that transpire? Both seminars constituting this module focus on the conditions of production of art in the modern and post-modern context. Influential artistic statements and artefacts will be surveyed, which shaped the artistic field of modernity and have stood out in the period since 1945 for unique outlook and radical clarity. In modern art, Manet and Duchamp are noteworthy figures. Contemporary artists considered are representative of such movements as conceptual painting (i.e. Mark Rothko), conceptual art and institutional critique (i.e. Andrea Fraser), performance art and feminist art (i.e. Mary Kelly, Carolee Schneeman, Yvonne Rainer). Finally, works from the field of digital art will be scrutinized, some of which draws on artificial intelligence in the production process, while also utilizing AI tools to evaluate the value of artwork and predict its future monetization. The art practices component of this module engages output and creative professional from the plastic and visual arts. Direct experience of aesthetic impact will be examined in the comparative setting of the seminar and possibilities of artistic research will be explored in the presence of evocative pieces and invited guests who specialize in artistic production. These artefacts and planned guest lectures will help establish points of contiguity linking Kant’s Critique of Judgement to his Critique of practical Reason. In dem auf künstlerische Praktiken bezogenen Seminar der beiden zusammenhängenden Moduleinheiten steht die Auseinandersetzung mit künstlerischer Produktion im Bereich moderner und zeitgenössischer Kunst im Vordergrund. Berücksichtigt werden maßgebliche künstlerische Positionen bzw. Arbeiten, welche die Kunst der Moderne begründeten bzw. im Rahmen der zeitgenössischen Kunstproduktion (nach 1945) in besonderem Maße hervorgetreten sind. Dazu gehören, was die Kunst des Modernismus betrifft, etwa Werke von Manet und Duchamp. Die zeitgenössische Kunst wiederum wird über Arbeiten von Hauptvertreter*innen des Postmodernismus, insbesondere aus den Strömungen von konzeptueller Malerei (z.B. Mark Rotho), Conceptual Art und institutioneller Kritik (z.B. Andrea Fraser), Performance Art und feministischer Kunst (z.B. Mary Kelly, Carolee Schneeman, Yvonne Rainer) berücksichtigt. Schließlich werden Werke aus der jüngeren digitalen Kunstproduktion, die sich tw. auf Artificial Intelligence stützt, ebenso behandelt, wie Versuche, KI für die Erklärung bzw. Prognose der Wertbildung von künstlerischen Arbeiten heranzuziehen.

Moderne und zeitgenössische Kunst: Theoretische Grundlagen (Seminar)

Dozent/in: Cheryce von Xylander

Termin:
wöchentlich | Donnerstag | 12:15 - 13:45 | 14.10.2019 - 31.01.2020 | C 11.320

Inhalt: Styles and philosophy of art appear to be co-evolving, though each being embedded in relatively autonomous fields. Sometimes new philosophical outlooks seem to engender new forms of artistic production and practice. Sometimes new ways of doing art seem to transform the interpretative categories through which these same works are understood. The entire system of meaning and expression sustaining artistic practice and experience is dynamic to a point that would appear to defy classification. Yet, without ordering categories there would be no artwork at all. These ordering categories produce not only definitions of art per se, but also concomitant conceptions of selfhood, personhood and mediation. They enable the dialectics within which such dualities as receptivity versus activity, irony versus earnestness and actuality versus virtuality come to be articulated. This module combines theoretical and practical coursework to explore the putative critical and emancipatory power of art. It seems that the ability to comprehend the fluidity of artistic practice and form enables cultural development. But how does that transpire? The theoretical foundations component of this module draws on writings that engage the plastic and visual arts. These texts give definition to both modern and contemporary output by drawing distinctions of genre, style and movements. Kantian aesthetics will receive special consideration, especially the question to what extent his foundational thinking may still be deemed relevant for artistic practice today. Im Theorieteil der beiden zusammenhängen Modulseminare steht die Auseinandersetzung mit Texten im Vordergrund, welche bildende bzw. visuelle Kunst und speziell moderne und zeitgenössische Kunst definieren und periodisieren sowie nach Genres, Stilen und Strömungen differenzieren. Ein Sonderthema wird dabei sein, inwieweit Kant, der als Begründer der modernen Ästhetik gilt, auch für den zeitgenössischen Kunstdiskurs noch Relevanz hat.