| Kommentar |
ECTS Points: 5
Language requirements: min. English B2
What makes Berlin the art world’s darling, and does it still live up to the myth? This course provides an introduction to contemporary art while simultaneously creating a framework within which to actively explore and analyze the city’s rich and varied cultural offerings. Through readings, writing exercises, and field trips to galleries, artistrun spaces, studios, and private collections, students will gain a unique insider’s perspective to Berlin’s vibrant international art scene and the cultural issues shaping the city today. |
| Literatur |
Required Readings (available via Moodle):
Julieta Aranda, Brian Kuan Wood, Anton Vidokle (eds.), What is Contemporary Art?, Sternberg Press, 2010.
Kimberly Bradley, “City Focus Berlin: Potsdamerstrasse,” ArtReview, January 2013.
Elena Filipovic, “The Global White Cube” in: Barbara Vanderlinden and Elena Filipovic (eds), The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe, 2005.
Hal Foster, “Contemporary Extracts,” e-flux journal, 2010.
Liam Gillick, “Contemporary Art Does Not Account for that Which is Taking Place,” e-flux journal, 2010.
Isabelle Graw, “False Polarities and Economic Subtexts Art Good, Market Evil?,” Texte Zur Kunst, May 6, 2015.
Bonaventure Soh Bejeng Ndikung, “The Globalized Museum? Decanonization as Method: A Reflection in Three Acts,” Mousse 58, April, 2017.
Dorothee Richter, “New Art Market(s) and forms of capital,” On-Curating 20, October, 2013.
Hito Steyerl, “Art as Occupation: Claims for an Autonomy of Life” in: The Wretched of the Screen, Hito Steyerl, 2012.
Ryan Thayer, “Based in Berlin: Policy Proposals for Living and Working,” Temporary Art Review, January 8, 2016.
“To Have and To Need (Haben und Brauchen) Manifesto,” January, 2012. |
