In der gemeinsamen Gesprächsreihe "Vom Nutzen der Kunst" von ZKM und HfG, laden wir internationale Gäste aus Philosophie, Literatur und Kunst zum offenen Austausch mit den Hochschulangehörigen, den Mitarbeitenden des ZKM und der Karlsruher Bevölkerung ein.
Beschreibung (en)
In the joint series of talks between ZKM and HfG, we invite international guests from the fields of philosophy, literature and art to an open exchange with members of the university, ZKM staff and the people of Karlsruhe.
"No Mythologies To Follow" zeigt Blumenarrangements für die neun Kulturgüter der Stadt Karlsruhe, die unter Schutz der Haager Konvention stehen.
Die Konvention ist ein völkerrechtlicher Vertrag, der auf Grund der Erfahrungen vorangegangener Weltkriege durch die UNESCO (United Nations Educational, Scientific and Cultural Organization) im Jahr 1954 ins Leben gerufen wurde. Sie stellt (un)bewegliche
Kulturgüter im bewaffneten Konfliktfall unter Schutz. Das heißt, die gelisteten Gebäude dürfen im Kriegsfall von Mitgliedsstaaten nicht geplündert oder attackiert werden, da „jede Schädigung von Kulturgut, gleichgültig welchem Volke es gehört, eine Schädigung des kulturellen Erbes der ganzen Menschheit bedeutet.“ Die Auswahlkriterien für schützenswertes Kulturgut sind dabei nicht immer klar nachzuvollziehen und zeigen, dass Kultur und ihre Bewertung stets an die jeweilige Gesellschaft und ihr Zeitverständnis gebunden ist. Nach der Haager Konvention gibt es Kulturgüter deren „Erhaltung (…) für alle Völker der Welt von großer Bedeutung ist.“
Die Blumenarrangements werden in der Ausstellung zu Akteuren, die für einen anderen Umgang mit Kulturgut stehen. Durch sie wird Vergänglichkeit artikuliert.
Zitate aus: Konvention zum Schutz von Kulturgut bei bewaffneten Konflikten – Haager Konvention vom 14. Mai 1954.
“No Mythologies To Follow” shows flower arrangements for the nine cultural assets of the city of Karlsruhe that are protected by the Hague Convention.
The Convention is a treaty under international law that was brought into being by UNESCO (United Nations Educational, Scientific and Cultural Organization) in 1954 as a result of the experiences of previous world wars. It provides (in)movable
cultural property under protection in the event of armed conflict. This means that the listed buildings may not be looted or attacked by member states in the event of war, as “any damage to cultural property, regardless of the people to whom it belongs, means damage to the cultural heritage of all mankind.” The selection criteria for cultural property worthy of protection are not always clear and show that culture and its evaluation are always linked to the respective society and its understanding of the times.
is bound to the respective society and its understanding of time. According to the Hague Convention, there are cultural assets whose “preservation (...) is of great importance to all peoples of the world.”
In the exhibition, the flower arrangements become actors that stand for a different approach to cultural assets. They articulate transience.
Quotes from: Convention for the Protection of Cultural Property in the Event of Armed Conflict - Hague Convention of May 14, 1954.
In der gemeinsamen Gesprächsreihe "Vom Nutzen der Kunst" von ZKM und HfG, laden wir internationale Gäste aus Philosophie, Literatur und Kunst zum offenen Austausch mit den Hochschulangehörigen, den Mitarbeitenden des ZKM und der Karlsruher Bevölkerung ein. Zum Auftakt sprechen Alistair Hudson und Constanze Fischbeck mit der Philosophin und Künstlerin Judith Siegmund.
Der Titel des Vortrags an diesem Abend wird sein: "Handeln mit Zwecken. Künste im 21. Jahrhundert“
Beschreibung (en)
In the joint series of talks between ZKM and HfG, we invite international guests from the fields of philosophy, literature and art to an open exchange with members of the university, ZKM staff and the people of Karlsruhe. To kick things off, Alistair Hudson and Constanze Fischbeck will be talking with the philosopher and artist Judith Siegmund.
Judith Siegmund is a professor of philosophical aesthetics at the Zurich University of the Arts. In her book »Zweck und Zweckfreiheit« (2019), she questions the demand for purposelessness in artistic creation that emerged in 20th-century aesthetic theory with reference to Kant. Instead, she starts from the assumption that aesthetic theory must prove adequate to its object.
Experts loathe them, spectators oppose them, owners belittle them, yet users abide… though not by the rules. Users and the use that they make — which together we refer to as usership — form a kind of atmosphere, in both the most literal and most figurative sense. Unlike ownership, usership is not a fiction bolstered and legitimated by institutions, but a collective subjectivity comprised of all the agents — human and other-than-human — who make use of a given territory or environment, ensuring the oxygen exchange of the atmosphere. Indeed, as users they are the artisans of that environment, the landscapers and artists of the atmosphere that sustains it. What would it mean, though, for public institutions to foster an atmosphere of usership?
Beschreibung (en)
Experts loathe them, spectators oppose them, owners belittle them, yet users abide… though not by the rules. Users and the use that they make — which together we refer to as usership — form a kind of atmosphere, in both the most literal and most figurative sense. Unlike ownership, usership is not a fiction bolstered and legitimated by institutions, but a collective subjectivity comprised of all the agents — human and other-than-human — who make use of a given territory or environment, ensuring the oxygen exchange of the atmosphere. Indeed, as users they are the artisans of that environment, the landscapers and artists of the atmosphere that sustains it. What would it mean, though, for public institutions to foster an atmosphere of usership?