(1) Kommunikation/Kunstvermittlung (20 Stunden / Woche)
Der Grazer Kunstverein erweitert sein Team und ist auf der Suche nach einer motivierten Person, die den Bereich der Kommunikation sowie jenen der Kunstvermittlung übernehmen bzw. aufbauen möchte.
Aufgaben
– Entwicklung und Realisierung von Kommunikationsstrategien
– Social Media und digitale Kommunikation
– Redaktionelle Assistenz und Übersetzung (online & Print)
– Konzeption und Durchführung von Kunstvermittlungsprogrammen
– Entwicklung von Kooperationen mit lokalen, nationalen und internationalen Bildungseinrichtungen
– Besucher*innenbetreuung
Voraussetzungen
– Erfahrung in den Bereichen Öffentlichkeitsarbeit und Kunstvermittlung
– Ausgezeichnete Deutsch- und Englischkenntnisse in Wort und Schrift (weitere Sprachen von Vorteil)
– Interesse an zeitgenössischer Kunst und ihren Diskursen
– Hohes Maß an Selbstständigkeit und Selbstorganisation
– Erfahrung in der Organisation und im Projektmanagement
– Kenntnis der lokalen und internationalen Kunst- und Kulturszene
– Offenes, kommunikatives Auftreten
20 Stunden / Woche
Arbeitsbeginn zum ehestmöglichen Zeitpunkt. Die Stelle ist bis 31.3.2023 mit der Möglichkeit auf Verlängerung befristet.
Bewerbungsunterlagen (Lebenslauf, Motivationsschreiben, je 1 Textprobe in Deutsch und Englisch) bis 31. Juli 2022 an Dr.in Tanja Gurke tg@grazerkunstverein.org.
(2) Praktikum (24-30 Stunden/Woche)
Der Grazer Kunstverein sucht regelmäßig motivierte Praktikant*innen, die sich für zeitgenössische Kunst interessieren und Einblick in die verschiedenen Berufsfelder in einem Kunstverein gewinnen möchten.
Aufgaben
– Mitarbeit bei der Organisation und Vorbereitung von Ausstellungen
– Unterstützung bei Eröffnungen und Veranstaltunge
– Unterstützung der Presse- und Öffentlichkeitsarbeit
– Mitarbeit bei der Besucher*innenbetreuung und der Büroadministration
– Recherchetätigkeiten
Voraussetzungen
– Gute Englischkenntnisse in Wort und Schrift
– Offenheit und Kommunikationsfreude
– Flexibilität und Teamfähigkeit
– Hands-On Mentalität und Selbstständigkeit
– Pflicht- oder studienbegleitendes Praktikum bzw. Berufsorientierung
24-30 Stunden / Woche
Dauer: 2-3 Monate
EUR 300/Monat
Bewerbungsunterlagen (Lebenslauf + Motivationsschreiben) bis 31. Juli 2022 an Dr.in Tanja Gurke tg@grazerkunstverein.org.
Wir freuen uns auf Ihre Bewerbungen!
prefaces to appendage appeared in conjunction with the exhibition appendage by Iris Touliatou. It gathers a series of prefaces to the exhibition, written by Arnisa Zeqo, Lisa Holzer, Tom Engels, and Quinn Latimer, and preceded by scattered imagery of the Grazer Kunstverein’s infrastructure before the arrival of appendage. Convened by Iris Touliatou, these voices conjure premonitions, blessings, openings, or, simply put, moments of an attached before.
Editor: Tom Engels
Conceptual Development: Iris Touliatou, Tom Engels, Julie Peeters
Graphic Design: Julie Peeters
Copyediting: Tom Engels, Verena Borecky, Bryana Fritz
Photography: Simon Veres
Printing and Binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
63 pages, b&w, English
ISBN: 978-3-9505230-1-0
Price: 9,- Euro, 5,- Euro for members
In Tongues is a sound program that accompanies appendage, the solo exhibition by Iris Touliatou. Activated in the office spaces of the Grazer Kunstverein, the audio program challenges the usual function of this “oral space.” The oral contributions by artists including Alison Knowles, Eduardo Costa, Eleni Poulou, Hannah Weiner, and Lutz Bacher thwart the space that usually hosts oral negotiation, transaction, communication, and exchange and turn it into a site where institutional language gets infused with the poetry of a bird singing, a spy spying, or a speed racer passing by.
The program will be activated every Saturday throughout the exhibition period.
Eduardo Costa
Eduardo Costa Chats With The Birds I, 2014, Audio, 1:26
Eduardo Costa Chats With The Birds II, 2014, Audio, 4:45
Eduardo Costa Chats With The Birds III, 2014, Audio, 6:22
Courtesy of the artist.
Eleni Poulou
Attunement and the white telephone, 2022, Audio, 8:50
Courtesy of the artist.
Alison Knowles
California Sandals, 1991, from Frijoles Canyon, written by Alison Knowles & Joshua Selman, performed by Alison Knowles, originally released in 1992 on CD & cassette by Nonsequitur Foundation/¿What Next?, Audio, 4:59
Copyright Alison Knowles & Joshua Selman. Courtesy of Alison Knowles.
Hannah Weiner
Three Poems, 1969, from Tape Poems, ed. Eduardo Costa and John Perreault, 1969.
Poem 2: The Problem, Audio, 0:29
Poem 3: Helium and Krypton, Audio, 1:06
Poem 4, Part 1: The Sound of an Object in One-Dimensional Motion Along a Line from A to B, Audio, 0:41
Poem 4, Part 2: The Sound of an Object in One-Dimensional Motion Along a Line from B to C, Audio, 0:42
Poem 4, Part 3: The Sound of an Object in One-Dimensional Motion Along a Line from C to D, Audio, 0:39
Poem 4, Part 5: Speed Racer, Audio, 1:00
Courtesy of Eduardo Costa, and Charles Bernstein for Hannah Weiner in trust.
Lutz Bacher
The Sea. Spies Like Us, 2012–2013, Audio, 18:02
Courtesy of The Estate of Lutz Bacher and Galerie Buchholz.
Eduardo Costa (b. 1940, Buenos Aires) works and lives in Buenos Aires. He lived 25 years in the United States, where he collaborated with Vito Acconci, Scott Burton, Dan Graham, John Perreault, Marjorie Strider, and Hannah Weiner. In Brazil, he was part of Helio Oiticica’s group which included Lygia Clark, Lygia Pape, Antonio Manuel, and others from the school of Rio. Costa’s work is in the permanent collections of MoMA, New York; Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museu de Arte Moderna, Rio de Janeiro; amongst others.
Eleni Poulou has been making music for over 30 years with different musicians in various music formats, including The Fall, Lee Scratch Perry, Shizuo, and currently with NOHE NOSHE, Kaffe Mathews, The Caretaker/James Leyland Kirby, Zsolt Sores, Hilary Jeffery, Wolfgang Seidel, Burkhard Beins, Moon Gear, Andre Vida, Recycling Plastic Inevitable, and many other friends and colleagues. She has several monthly radio shows on Cashmere Radio and Movement Athens, among others. Poulou works and lives in Berlin.
Alison Knowles (b. 1933, New York City) is a visual artist known for her sound works, installations, performances, publications, and association with Fluxus, the experimental avant-garde group formally founded in 1962. A founding member of Fluxus, Knowles began using Cagean compositional devices, like indeterminate performance and chance operations in the early 1960s. Knowles collaborated with Marcel Duchamp on a screen reprint of his Coeurs Volants and designed and co-edited John Cage’s Notations (1968), a book of visual music scores. Among her Fluxus performance scores are Make a Salad (1962), Shoes of Choice (1963), and The Identical Lunch (1969). In 1967, Knowles’s The House of Dust was among the first computerized poems. Knowles lives and works in New York City.
Hannah Weiner (b. 1928, Providence, d. 1997, New York City) was an experimental poet often associated with the Language Poets, an avant-garde group of writers including Bernadette Mayer, Leslie Scalapino, Susan Howe, and Charles Bernstein. In the 1970s, she began to compose poems (her “clairvoyant poems”) based on the words she saw on her forehead and other surfaces. Weiner’s published collections include a volume from her pre-clairvoyant period, The Magritte Poems (1970); Clairvoyant Journal (1973); Little Books / Indians (1980); Code Poems (1982); poems based on international maritime codes, SPOKE (1984); The Fast (1992); We Speak Silent (1996); and the compilation Hannah Weiner’s Open House.
Lutz Bacher (1943-2019) lived in Berkeley, California, and New York City. Her archive, The Betty Center, is in New York and open to visitors by appointment.
On the occasion of appendage, the solo exhibition by Iris Touliatou, Touliatou and Tom Engels, curator of the exhibition, will enter into a conversation to discuss the making of the exhibition and Touliatou’s work at large.
Attentive to the ways object, gesture, and affect are mutually implicated, appendage quivers between the remnants of fractured existence and the unbridled desire and pleasure to hold things—together and anew. Harnessing both situated and dislocated supplies, appendage unfolds as a series of fixtures, both material and situational, that are in turn connected or plugged into the architectural and social infrastructure of the Grazer Kunstverein.
doorways, door frames, bar handles, manual mechanisms, outdoor connectors, door eyes, cabin hooks, hinges, stoppers, 3M double-sided adhesive, self-adhesive, window tint removal kit, PVC shock absorber & screws, holes, original column, modern copy of original column, partition walls, galvanized steel, plasterboard, white paint, Olympia black corded phone, wall text, wall mount system, wall absorbers, phone memory, ring tone, handsets, large buttons, cell dead zones, audio assist feature, remote access, cable, splitter, missed calls, call history, membership fee, membership benefits, dispatches, open letter, agreement template, computer floor, calcium sulphate, high strength polypropylene, vinyl, linoleum, laminate, rubber, panels lowered and reversed, removed carpet, base, head, pedestal assembly, stringer, previous institutional identity, stationery, bumpers, nipple shields, sugar substitute, stretch film, food processor, standard blade, drinking water fountains, fittings, rings, stainless steel pipes, elbow, reducer, tee type, cross type, coupling, unions, adaptors, olet, fixtures, flanges, valves, drains, rub handling, outlets, distribution boards, equipment support, Humanscale NeatLink cable management, defender mini, channel rubber, defender cable crossover defender compact, line wiring, today’s standard, wall jack, 30 meter telephone extension cable, 300 bathing suit sets, 300 shirts, motors, chilled water pump, water booster, transducer, cable, charger, network, alarm, security key box, password, extender pro, repeater pro, long range access point, Waveshare screens, black glass, cartons, organic eggs, safety lights, lights on loan, lights for an exhibition, 3 racks, 6 squares, fluorescent bulbs, electrodes, shunted sockets, screw-type base, thermal paper, adding machines, coating, zero ink system, heat, sun, friction, arm fetish, hand fetish, transport van, CB0209PH, books on events according to your date of birth, old astrology guides, prefaces, wires, metal fences and cages retired from circulation, brushed nickel 6-pack stainless steel, gold threads, interior doors, separators, hand rests, windbreakers, wine glasses, magnetic panties, happiness pills, unseizable property, turquoise shades, exterior emulsion, buckets, ice machine loan, oxygen concentrator, PVC belts, plastic wrap, two identical melamine boxes with locks, Christmas trees, the last 230 objects from a store (sold), various for birds, some big black leather couches, we women complete series, free admission,… aggregate and detach.
appendage emerges in the structural dissection of the institution as a public body. Currents of access, data, phone calls, water supply, temperature, electricity, architecture, geography, legal bond, membership, and support structures are scored anew as they are redistributed, diverted, or disrupted. In such an instance of structural glitch, appendage lifts institutional functions from their normative behaviors and replenishes them with transient affiliations and elective affinities.
appendage exposes how objects and their functions continue drifting inseparably from personal and collective attachments and gives body to the enmeshment between infrastructure and affective economies. It lays the transactional conditions that constitute the collective dimensions of intimacy bare and inflamed.
appendage will be accompanied by prefaces to appendage, a publication with contributions by Arnisa Zeqo, Iris Touliatou, Julie Peeters, Lisa Holzer, Tom Engels, and Quinn Latimer.
appendage will host a sound program with oral contributions by artists including Alison Knowles, Eduardo Costa, Eleni Poulou, Hannah Weiner, among others.
On June 24, in addition to the opening at Grazer Kunstverein, HALLE FÜR KUNST Steiermark (18:00) and <rotor> (20:00) will open their exhibitions. The opening speech at Grazer Kunstverein takes place at 19:00. After the openings, there will be a DJ set and drinks at Kombüse. A shuttle bus from Vienna will be provided:
15:00: Departure Opernringhof, Vienna to Graz
22:30: Departure Burgring 2 to Vienna
Registration at: lw@halle-fuer-kunst.at
Iris Touliatou (b. 1981, Athens) lives and works in Athens. Recent solo exhibitions include Organs, EXILE, Vienna (2020); and Overnight, Radio Athènes, Athens (2019). Touliatou has been part of the group exhibitions 2021 Triennial: Soft Water Hard Stone, New Museum, New York (2021–22); Work and Leisure, Milan (2022), When I state I am an anarchist, PLATO, Ostrava (2022); Anabasis, Rodeo Gallery, Athens (2022); Eclipse, the 7th Athens Biennale (2021); Lives of an Object, Andreas Melas and ARCH, Athens (2021); The Way In, Haus N Athen, Athens (2021); Anti Structure, DESTE Foundation, Athens (2021); Interval, Goethe-Institut Athen (2021); The Same River Twice, Benaki Museum, Athens (2019); and Manifesta 12, 5x5x5: Selected Projects, Palermo (2018), among others. In 2022 Touliatou will participate in SIREN (some poetics) at Amant Foundation, New York. appendage is her first institutional presentation in Austria.
Dialoge is a discursive program organized by the newly founded Center for Contemporary Art at the University of Graz, which will take place from May 16-21 at the Grazer Kunstverein. Under the title Art – Political Responsibility – Social Justice the program examines current socio-political issues. The program focuses on political conflict zones in Europe, diversity in the context of questioning and redefining concepts of identity, as well as social justice, colonialism, and imperialism.
The fourth Dialog examines the intertwinement of acts of political self-determination with artistic practices. With contributions by Mark Nash (lecture), Yagazie Emezi (artist talk), Ryan Cosbert (artist talk), Belinda Kazeem-Kamiński (artist talk), and Florian Bieber (lecture).
For the most recent schedule, please visit the website of the Center for Contemporary Art, University of Graz.
Dialoge is a discursive program organized by the newly founded Center for Contemporary Art at the University of Graz, which will take place from May 16-21 at the Grazer Kunstverein. Under the title Art – Political Responsibility – Social Justice the program examines current socio-political issues. The program focuses on political conflict zones in Europe, diversity in the context of questioning and redefining concepts of identity, as well as social justice, colonialism, and imperialism.
Theoretical and artistic responses to stereotyping and attributions related to gender form the core of the third Dialog. With contributions by David Getsy (lecture), Alexandra Hammond (performance), Furusho von Puttkammer (performance), Masha Godovannaya (lecture), and Bárbara Wagner and Benjamin de Burca (screening).
For the most recent schedule, please visit the website of the Center for Contemporary Art, University of Graz.
Dialoge is a discursive program organized by the newly founded Center for Contemporary Art at the University of Graz, which will take place from May 16-21 at the Grazer Kunstverein. Under the title Art – Political Responsibility – Social Justice the program examines current socio-political issues. The program focuses on political conflict zones in Europe, diversity in the context of questioning and redefining concepts of identity, as well as social justice, colonialism, and imperialism.
The second Dialog, entitled Trust & Intransigence, will place a special emphasis on European conflict zones. It provides a platform for exchange between scholars and artists. With contributions by Saddam Jumaily (Artist Talk), Marita Muukkonen, Ivor Stodolsky (Conversation), Jasmina Cibic (Artist Talk), Alexandra Hammond (Performance), Ekaterina Degot (Statement), Vedran Dzihic (Lecture) and Anri Sala (Screening).
For the most recent schedule, please visit the website of the Center for Contemporary Art, University of Graz.
Dialoge is a discursive program organized by the newly founded Center for Contemporary Art at the University of Graz, which will take place from May 16-21 at the Grazer Kunstverein. Under the title Art – Political Responsibility – Social Justice the program examines current socio-political issues. The program focuses on political conflict zones in Europe, diversity in the context of questioning and redefining concepts of identity, as well as social justice, colonialism, and imperialism.
The first Dialog includes contributions by Wolfgang Meixner (book presentation), Marc Hill (book review), Steffen Schneider (statement), Renate Hansen-Kokoruš (lecture), and Djordje Čenić (artist talk and screening).
For the most recent schedule, please visit the website of the Center for Contemporary Art, University of Graz.
She gave it to me I got it from her is both a book and a choreography performed for five spectators at the time. By way of the voice and an intricate composition of gestures, Clara Amaral guides the spectator through the different chapters of the book. Developed and written by the artist herself, the publication focuses on the matrilineal passing down of reading and writing skills—from mother to daughter, generation upon generation. The narrative that unfolds traces Amaral’s family history and reveals a historical transition from illiteracy to the ability to read and write. Laying out this transformation in a poetic manner, Amaral gives insight into the power relations articulated by the presence and absence of the capacity to read and write and how this plays into the formation of identity, be it personal or collective. As such, the performative reading articulates the book anew as both a script, a performance, and an archive.
Language: English
Duration: 60 minutes
Price: 5 Euro (free for members)
Due to very limited capacity, it is required to reserve a seat by writing to office@grazerkunstverein.org
Clara Amaral (b. 1984, Portugal; lives in Amsterdam) is an artist working with text and performance. Her interdisciplinary artistic practice questions what it means to be a reader, to be a writer, aiming to expand existing modes of reading, writing, and publishing. Central to her practice is the investigation of publishing modalities and the performative aspect of writing and language, through an intersectional feminist approach. Her works have been presented in The Netherlands, Portugal, Belgium, Spain, Sweden, and Switzerland. Amaral is the initiator of the online publishing platform misted.cc.
Writer, choreographer and performer Clara Amaral; Graphic design Ronja Andersen and Karoline Swiezynski; Copy editor Isabelle Sully; Conceptualization and fabrication of objects Olga Micińska in dialogue with Clara Amaral; Publisher Kunstverein Publishing
She gave it to me I got it from her was supported by Mondriaan Fonds, Amsterdam; Veem House for Performance, Amsterdam; Members of Kunstverein, Amsterdam; Alkantara, Lisbon; Teatro do Bairro Alto, Lisbon
The presentation of She gave it to me I got it from her at Grazer Kunstverein is made possible with the support of Mondriaan Fonds, Amsterdam.
