27. April 2018 | 09:00 – 17:00
28. April 2018 | 01:30 – 16:30
“From Production Sites to Museums”
ART. TALKING BUSINESS. 2018 Friday 27th April, opening remarks by Pascal Decker and Laura Hirvi, discussion with Wolfgang Ullrich, Arja Miller, Ulrike Lorenz, Khairuddin Hori & moderator Julia Voss
Panel discussion: Siegerkunst - master pieces and how museums deal with it.
ART. TALKING BUSINESS. 2018 Saturday 28th April, welcome by Pascal Decker, talk Sir Norman Rosenthal & Michael Werner
Talk: The international art market as mother of fine arts
ART. TALKING BUSINESS. Forum in cooperation with the Finnish Institute in Germany
were delighted to invite you to “From Production Sites to Museums” on Friday and Saturday, 27-28 April 2018 at the Stiftung Brandenburger Tor in the Max Liebermann Haus and production sides in Berlin.
On Friday, 27 April 2017, we started with four individual tours allowing us to visit some extraordinary production sites. Tour 1 was going to Bühnenservice Berlin, the biggest service supplier for theatres but also for artists in Germany. Tour 2 took us to Bildgießerei Hermann Noack, a fine art foundry catering to artists’ requirements since 1897. Tour 3, on the other hand, went to Gipsformerei (replica workshop) of the Staatliche Museen zu Berlin (Berlin National Museums), founded by King Friedrich Wilhelm III in 1819 as the Royal Prussian Institute of Plaster Casting. Last but not least, tour 4 guided us to the exhibition NGORONGORO II taking place in various artists’ studios in a former factory site in East Berlin (for timing please see agenda below).
Afterwards, we had a networking lunch directly next to the Brandenburg Gate, then followed by our panel discussion about Siegerkunst – master pieces and how museums deal with it in cooperation with The Finnish Institute in Germany.
The half-day art business seminar and lunch welcomes the expertise and experience of various professionals of the art market to discuss the trends currently promoting change at the start of the Gallery Weekend Berlin.
On Saturday, 28 April 2018, we were extremely pleased to welcome Sir Norman Rosenthal and Michael Werner, who talked about The international art market as mother of fine arts in the Max Liebermann Haus.
Friday, 27 April 2018
09:00 Registration & meet up at Max Liebermann Haus
09:30 Bus shuttle for tour 1, 2, 3, and 4
10:00 Start tour 1: Bühnenservice Berlin, 20 participants
10:00 Start tour 2: Bildgießerei Hermann Noack, 20 participants
10:00 Start tour 3: Gipsformerei of Staaliche Museen zu Berlin, 20 participants
10:00 Start tour 4: NGORONGORO II exhibition taking place in different ateliers, 20 participants
12:30 Bus shuttle back to Max Liebermann Haus
01:00 Welcome lunch & registration
02:30 Opening remarks and welcome by Pascal Decker, ART. TALKING BUSINESS.
02:40 Welcome by Laura Hirvi, The Finnish Institute in Germany
02:50 Panel discussion: Siegerkunst – master pieces and how museums deal with it
With: Wolfgang Ullrich, author of Siegerkunst, Arja Miller, chief curator EMMA – ESPOO MUSEUM OF MODERN ART, Ulrike Lorenz, director Kunsthalle Mannheim and Khairuddin Hori, Chan + Hori Contemporary. Moderated by: Julia Voss, honorary professor for art history at Leuphana University of Lüneburg
04:30 Closing remarks by ART. TALKING BUSINESS. & The Finnish Institute in Germany
04:35 Reception and get together
05:00 End of the event
Saturday, 28 April 2018
01:30 Registration & access to venue Max Liebermann Haus
02:00 Welcome by Pascal Decker, ART. TALKING BUSINESS.
02:10 Talk The international art market as mother of fine arts with Sir Norman Rosenthal, curator and art historian, and Michael Werner, gallerist of Galerie Michael Werner
03:40 Open discussion
04:00 Reception and get together
04:30 End of the event
About the speakers:
Laura Hirvi, Managing Director The Finnish Institute in Germany
Laura Hirvi grew up in Germany in a Finnish-German family and was raised bilingually. She studied ethnology at Freie Universität Berlin and University of Jyväskylä, Finland. In 2007, she graduated from the University of Jyväskylä with a Master’s thesis on Finnish Gothic Subculture. During her PhD research on the Sikhs in Finland and California she spent a year in Santa Barbara, California, as a Fulbright student. In 2013, she received a PhD in Ethnology from the University of Jyväskylä. In her postdoctoral research, she studied i.a. “Mobile Finnish artists and Berlin”. Laura was appointed director of the Finnish Institute in Germany, located in Berlin, in 2015.
Arja Miller, chief curator EMMA – ESPOO MUSEUM OF MODERN ART
Arja Miller works as chief curator of EMMA, Espoo Museum of Modern Art, Finland. Before joining EMMA she was the chief curator at Kiasma (2008-2017), where she was in charge of developing the contemporary art collection as part of the collections at Finnish National Gallery. Before Kiasma she acted as curator and Head of Education at Helsinki Art Museum (1997-2007). Her curatorial work includes numerous solo and group exhibitions from both Finnish and international artists including solo shows by Choi Jeong Hwa, Piplotti Rist, Olav Christopher Jensen and Adel Abidin. She has also co-curated Kiasma’s two major international group shows, ARS11 and ARS17, the first focusing Africa in contemporary art (2011) while the latter discussed artists’ response to digital revolution. Arja has written and published extensively on contemporary art. Her particular area of interest are installation art, lense-based media and new media art, performative practices, new forms of painting and the overlaps between art, sound and music.
Arja has a Master of Arts degree from the University of Helsinki (1997) and a qualification in Business management in the museum context from the Management Institute of Finland (2012-2014). In addition to her work at EMMA she is a board member of the Foundation for the Finnish Museum of Photography.
Ulrike Lorenz, director Kunsthalle Mannheim
Ulrike Lorenz was born 1963 in Gera, studied cultural sciences and archaeology at Universität Leipzig (1983-88) and finished her studies summa cum laude. She took a PhD in 1999 at Bauhaus-Universität Weimar about the German-Norwegian avant-garde architect Thilo Schoder (1888-1936). She was director of Kunstsammlung Gera and Otto Dix Haus from 1991-2003 and additionally managed the Citify Museum of Gera in 2003. Ulrike was director of Kunstforum Ostdeutsche Galerie in Regensburg (2004-2008), where she worked in cooperation with museums in Budapest, Hungary, and Breslau/Wrocław, Poland, Madrid, Spain, and Paris, France. She is director of Kunsthalle Mannheim since 2009. Ulrike accompanied the general restauration of the 100-year- old Jugendstil-building of Hermann Billing, developed a museum utilisation concept for Kunsthalle Mannheim with bogner cc. Vienna as well as an engineer-technical feasibility study for both alternatives general restructuring of the extension building of the 1980s or new construction (2010-13). Monitoring of the anonymous, twostage architectural competition with 29 international bureaus for the new building of Kunsthalle Mannheim, launch of the private foundation Stiftung Kunsthalle Mannheim, that manages the building process and budget as building owner. In 2013-14 exhibition Dix/Beckmann: Mythos Welt on the occasion of the reopening of the Jugendstil-building of Kunsthalle Mannheim (co-curated by Beatrice von Bormann, Amsterdam, Netherlands) as well as the exhibition Nur Skulptur! (with Bogomir Ecker and team), the farewell-exhibition of the former extension building with over 400 sculptures of the collection in an artistic overall staging. Ulrike was a member of the board of Deutscher Museumsbund e.V. from 2010-18 and is since 2014 member of the Akademie der Künste in Berlin, section fine arts, as well as in the Leipziger Kreis der detuschen Kunstmuseen. In 2016, she curated the first big Otto-Dix-retrospective in Latin-America Otto Dix: Violencia y Pasión for the Museo de Arte Contemporáneo de Monterrey and the National Gallery in Mexico City. Until June 2018, Ulrike manages the construction of the forward-looking new building of Kunsthalle Mannheim as ‘city in the city’ with a radical democratic museum philosophy including a paradigmatic digital strategy.
Julia Voss, honorary professor for art history at Leuphana University of Lüneburg
Julia Voss is honorary professor for art history at Leuphana University of Lüneburgand currently Fellow at Max Planck Institute for the History of Science. Her PhD was on art and science in the 19th Century published as “Darwin’s Pictures. Views of Evolutionary Theory, 1837-1874” (S. Fischer 2007, Yale University Press 2010). For ten years, she was the visual arts editor of Frankfurter Allgemeine Zeitung and deputy head of its cultural section. Recently she returned to academia with a book project on the Swedish pioneer of abstraction, Hilma af Klint. She has published widely on contemporary art, exhibitions, museums and the art market. In her book “Hinter weißen Wänden” [Behind the White Cube] (with Philipp Deines), she explored the interconnections between art production and the art market, as well as its public and private interests. In 2016/17, she was Fellow at the Berlin Institute of Advanced Studies. She writes the art column „Fragen Sie Julia Voss“ for Frankfurter Allgemeine Sonntagszeitung.
Khairuddin Hori, Curatorial Director & Partner Chan + Hori Contemporary
Khairuddin Hori born in 1974 and fully trained in Singapore, Khairuddin Hori (Khai) is best known for his multidisciplinary and unconventional approach to curating, supported by his experience in theatre and work as an artist. Khai’s profile was placed on spotlight in 2014 after he was invited on-board Europe’s largest and internationally renowned art centre, Palais de Tokyo in Paris, France as its Deputy Director of Artistic Programming. Prior, Khai was Senior Curator at the Singapore Art Museum, overseeing Singapore’s national collection for contemporary art, and Senior Curator at the Curatorial Development department of the National Heritage Board, Singapore. In 2018, in partnership with the National Arts Council, Singapore Khai was commissioned to curate D/SINI a new visual arts festival featuring outdoor sculptures, public programmes and exhibitions, He was also the curator behind LOCK ROUTE, the first international outdoor sculpture exhibition at visual art precinct, Gillman Barracks in 2017. In 2016, Khai co-curated In Praise of Shadows, a sustainable light art festival in the Marina Bay precinct; was an international affiliate of “What happens now?”: Public Art Melbourne Biennial Lab (2016) and co-curator of The Light of the Light by Quistrebert brothers. Other notable projects include Tianzhuo Chen, Palais de Tokyo, Paris (2015); Sous la lune, Institute of Contemporary Arts, Singapore (2015); Secret Archipelago, Palais de Tokyo, Paris (2015); Open SEA, Museum of Contemporary Art, Lyon (2015); Welcome to the Jungle, Yokohama Museum
of Art and Contemporary Art Museum Kumamoto, Japan (2013); If the World Changed, Singapore Biennale (2013); Lucid Dreams in the Reverie of the Real, Singapore Art Museum, Singapore (2012); and Negotiating Home, History and Nation, Singapore Art Museum, Singapore (2011). Khai is currently Curatorial Director and Partner at Chan + Hori Contemporary in Singapore.
Sir Norman Rosenthal, curator and art historian
Sir Norman Rosenthal was born in Cambridge, UK in 1944. He studied at the University of Leicester and subsequently undertook postgraduate studies at the School of Slavonic and East European Studies, London University as well as the Free University of Berlin. He organised his first exhibition at the Leicester Museum and Art Gallery in 1955 and subsequently worked inter alia at Brighton Museum and Art Gallery and the Institute of Contemporary Arts in London. From 1977 to December 2007, Norman was Exhibition Secretary of the Royal Academy of Arts, London, where he was in charge of the enabling and organisation of all loan exhibitions. Amongst the significant contemporary exhibitions that took place during that period were: “Robert Motherwell” 1978, “A New Spirit in Painting” 1981, “Sensation” 1997, “Apocalypse: Beauty and Horror in Contemporary Art” 2000, “Frank Auerbach” 2001, “Georg Baselitz” 2007. In Berlin he was co-responsible for the ground breaking exhibitions, “Zeitgeist” 1982, “Metropolis” 1991, and “The Age of Modernism – Art in the 20th Century” 1997. Since leaving the Royal Academy, he works as a freelance consultant and curator to museums and private galleries and individuals in the UK, Europe, Turkey and the USA. He sits on various boards connected to the arts. He was knighted in 2007.
Wolfgang Ullrich, art historian and author of the book “Siegerkunst. Neuer Adel, teure Lust.”
Wolfgang Ullrich, was born 1967 in Munich, studied philosophy and art history. In 1994, he earned his doctorate with a focus on the late work and event thinking of Martin Heidegger. In addition to holding teaching positions at various universities, he was an associate in the Department of Art History at the Academy of Fine Arts in Munich from 1997 to 2003 and guest professor for art theory at the University of Fine Arts in Hamburg from 2003 to 2004. In 2015, he resigned from his professorship in aesthetics and media theory at the Karlsruhe University of Arts and Design, which he had held as of 2006, and now lives and works in Leipzig as a freelance author. Wolfgang conducts research and publishes on the history and criticism of the concept of art, on modern visual worlds, and on phenomena related to prosperity.
Michael Werner, gallerist of Galerie Michael Werner
Michael Werner born in Nauen in 1939, Michael finished his education as an art dealer at Galerie Rudolf Springer in Berlin in 1958. In 1963 opening of the gallery Werner & Katz with Benjamin Katz at Kurfürstendamm, Berlin. Their first exhibition with works by Georg Baselitz was closed by the prosecution due to ‘offending public decency’ followed by confiscation of the painting Die Große Nacht im Eimer by Baselitz (today Museum Ludwig Köln). In June 1964 he opened his own gallery with the 1. Orthodoxer Salon in a former coal store in Berlin at Pfalzburger Strasse. Since then representative of Markus Lüpertz and A.R. Penck. Michael moved in 1968/69 to Cologne, where the following exhibitions premiered subsequently: Gaston Chaissac (1969), Marcel Broodthaers (1970), Sigmar Polke (1971), Jörg Immendorff (1971), James Lee Byars (1971), Tomas Schmitt (1972), Anselm Kiefer (1974) and Per Kirkeby (1974). In 1979 Galerie Michael Werner was opened in Gertrudenstrasse, Cologne. Since 1982 he established his German artists in the USA through the cooperation with at first Ileana Sonnabend, Marian Goodman and Xavier Fourcade, then later with Mary Boone, New York. At the same time followed the publication of the artist journal KRATER + WOLKE (8 issues). In 1990, Michael opened the New York gallery Michael Werner Inc. (Upper East Side). In 2009 opening of an office in Märkisch Wilmersdorf, Brandenburg, Germany. Michael was awarded in 2011 with the Art-Cologne-Award, in 2013 with the Grande Médaille de la Ville de Paris by the mayor of Paris and in 2017 with the insignia of Knight of the Legion of Honour Chevalier de la Légion d’Honneur de France.