Talks: WHERE ARE WE NOW? | Curator: Kimberly Bradley | 28–30 September, 3:30 pm, 5:00 pm | Talks Area C32
Where are we now is a series of conversations and discussions that will assess, and reflect upon the viability of our current art-world models, as well as predict possible outcomes of change. As part of viennacontemporary’s daily program, critic/journalist Kimberly Bradley has assembled these talks, all engaging with different aspects of the art world’s current state of flux – in Vienna and far beyond – seen from the perspectives of artists, international collectors, museum directors, dealers, critics, and curators.
Friday, 28 September 2018 | 3:30-4:30 pm, English
Francis Ruyter, Artist, Vienna
Herwig Kempinger, President of Secession, Vienna
Laura Windhager, Founder and Director of GIANNI MANHATTAN, Vienna
Maria Inés Plaza Lazo, Director of EXILE, Art Critic and Editor of the street newspaper ‘Arts of the Working Class’
Art in Vienna is changing rapidly: A new generation of players is emerging alongside the city’s art establishment. This panel discusses the many developing conditions surrounding Vienna’s artists, galleries, art market, and institutions – as well as how the local scene can respond to greater political developments in Austria.
Friday, 28 September 2018 | 5:00-6:00 pm, English
Chloe Stead, Art Critic, Writer, Berlin
Chloe Piene, Artist, New York
Sophie Tappeiner, Gallery Founder and Director, Sophie Tappeiner, Vienna
Despite decades of activism and awareness-building, women artists and art practitioners must still cope with a dramatic gender gap in terms of representation, canonization, and market power. Can this chasm be bridged, and if so, through which concrete steps? This panel offers female perspectives on art production and distribution; aesthetics and ideologies – and explores how art’s future can become more female.
Saturday, 29 September 2018 | 3:30-4:30 pm, English
Hicham Khalidi, Associate Curator at Lafayette Anticipation in Paris, Director at the Jan van Eyck Academy, Maastricht, Main Curator at Rotterdam Triennial
Marina Fokidis, Independent Curator, Founding Director and Editor in Chief of South as a State of Mind, Athens
Irena Popiashvili, Director of Kunsthalle Tbilisi
This panel examines the role of art made and exhibited under non-Eurocentric conditions, not just the Global South but also post-communist zones (the former second world), and the blurring lines between the traditional centers and peripheries. Can art diverging from western/northern notions of art history and aesthetics – as well as models and structures of exhibition, distribution, institutional infrastructure and market concerns – show us new ways of addressing pertinent global topics?
Saturday, 29 September 2018 | 5:00-6:00 pm, English
James English Leary, Artist, New York
Mohammad Salemy, Art Critic, Artist, Curator, Berlin
In response to populism and a myriad of other political upheavals in recent years, social practice and artist-activism have dramatically grown in visibility in the past half-decade. This talk explores the problems and potentials inherent in these practices, as well as those within art’s own structures and mechanisms. Can, or should, the art world effect change in the real world, and if so, how?
Sunday, 30 September 2018 | 3:30-4:30 pm, English
Michael Xufu Huang, Collector, Co-Founder, M WOODS Museum, Beijing
Stefan Simchowitz, Collector, Curator, Art Advisor, Los Angeles (via Skype)
Paulina Bebecka, Director-at-large, Postmasters Gallery, New York / Rome
Historical patronage reflected the cultural ideologies, wealth, and power of a few patrons, while the twentieth century’s artistic evolutions and market developments recast the patron’s role. Considering the twenty-first century’s complexities, is patronage still the often unequal social negotiation it long was? This panel discusses contemporary patronage through current positions and projects, and asks: what could patronage look like in years to come?
Sunday, 30 September 2018 | 5:00-6:00 pm, English
Kolja Reichert, Art Editor for the Frankfurter Allgemeinen Sonntagszeitung
Nina Schedlmayer, Independent Art Critic, Vienna
Filipa Ramos, Editor–in-Chief of art–agenda, New York / London
Taking many forms and in perpetual “crisis,” where does art criticism currently stand within the greater art field? This panel examines how criticism might gain more relevance at a time in which talk of all kinds has become cheap, so to speak. Potentials may lie in new publishing platforms, social media, and innovative approaches to critique – and these vary from country to country. Ethics will be considered: what is covered, and why? Is today’s comparably tame criticism in danger of becoming mere PR? Most of all, how can we imagine the art publications of the future?
An American based in Berlin and Vienna, Kimberly Bradley straddles the worlds of mainstream cultural journalism and art criticism. Her work’s origins are in journalism, a field in which she remains active. Bradley regularly contributes to The New York Times, primarily on art-world issues or artists, but also news. She is also the Vienna correspondent of London-based Monocle magazine, writing general-interest pieces and often appearing on Monocle’s web radio station as an art critic. Her criticism and art-related opinion pieces appear in publications including Art-Agenda, ArtReview, Frieze, and Mousse.
Bradley frequently edits catalogues and monographs for major museums and institutions in the German-speaking world. She was the copy editor of Texte zur Kunst magazine for four years, and has edited the English-language publications for the southern German residency program Akademie Schloss Solitude since 1999. Since 2013, Bradley has been a lecturer on contemporary art practices and theory at New York University’s Berlin branch. In 2016 and 2017, she taught an intensive art-writing course at the Salzburg Summer Academy of Fine Arts.
Photo: Hicham Khalidi © Achraf Bendaoud, Irena Popiashvili © Eugene Timerman, Mohammad Salemy © Patrick Schabus, Kolja Reichert © Wolfgang Eilmens / F.A.Z
Save the Date
27–30 September 2018
Marx Halle Vienna