HfG Karlsruhe Jahresbericht Staatliche Hochschule für Gestaltung ...

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█ Museumskulturen-
Exkursion Nr. 7 /
Excursion No. 7 on
museum cultures
Villa Merkel
(Aura Dufva und Veera
Laahtinen, Erasmus-
Studentinnen KHI der
Universität Helsinki,
Finnland / Aura Dufva
and Veera Laahtinen,
Erasmus students from
the Department of Art
History at the University
of Helsinki, Finland)
74 75
Prof. Leghissa unternahm – gemeinsam mit dem Prorektor der HfG, Dr. Uwe Hochmuth – eine
»Kritik der neoliberalen Vernunft« bzw. einen »Versuch einer Dekonstruktion des ökonomi-
schen Diskurses« und bot außerdem eine »Einführung in die Kulturwissenschaften« an, deren
Genealogie und politische Tragweite untersucht wurden. Lehrbeauftragter im Winter- wie im
Sommersemester war Prof. Dr. Heiner Mühlmann, der sein mehrsemestriges Lehr- und For-
schungsprojekt an der HfG zur »Philosophischen und Experimentellen Rhetorik« fortsetzte.
Im Wintersemester assistierte ihm dabei der Neuromediziner und Linguist PD Dr. Dr. Thomas
Grunwald vom Schweizerischen Epilepsiezentrum Zürich, der mithilfe von EKP-Messungen
die Gehirnreaktionen der Studierenden maß, um die Trainingseffekte zu verbessern. Im Som-
mersemester hielt Prof. Mühlmann zusätzlich ein Seminar über »Rekonstruktivismus, Orna-
mentarchitektur und die Verwendung von Schmuck im Allgemeinen« gemeinsam mit Prof.
Wilfried Kühn ab. Die wissenschaftliche Mitarbeiterin für Philosophie und Ästhetik Barbara
Kuon M.A. beschäftigte sich im Wintersemester unter dem Titel »Tief unten« mit dem philosophischen
Materialismus von der Antike bis zur Gegenwart, im Sommersemester mit dem
»Warenfetischismus« im Werk von Marx, Benjamin, Adorno u.a. Lehrbeauftragte für Philosophie
und Ästhetik waren im Wintersemester 2008/09 außerdem Prof. Dr. Hinderk Emrich
und Prof. Edgar Reitz (»Philosophie des Raumes im Kino«), Dr. Joseph Cohen (»Derrida and the
Problem of Philosophy«), Matthias Müller M.A. (»Neurowissenschaft und Ästhetik«) sowie Dr.
Christoph Narholz und Dr. Cai Werntgen (»Der Glaspalast und seine Kritik«).
Kunstwissenschaft und Medientheorie /
Art Research and Media Theory
Courses
Prof. Wolfgang Ullrich focused his instruction on observing the art market and analyzing artistic
success. This involved discussing the hype surrounding individual artists, as well as
strategies of a demand-based, industrialized art. He continued the textual-study seminars
which, this year, treated the aesthetic writings of Friedrich Schiller and more recent publications
on culture theory. In addition, he concentrated on the function of fine art within a socialist
state, and on the position and form of the use of art for representing, staging, and increasing
power. In his lecture, “Michelangelo German! Art History as a Form of Cultural Imperialism”
[“Michelangelo deutsch! Kunstgeschichte als Kulturimperialismus], Prof. Joseph
Imorde (University of Siegen) spoke about strategies of appropriation of Michelangelo in German
art historiography. Art historian and media entrepreneur Hubert Burda discussed his
book, “Mediale Wunderkammern” (Schriftenreihe der HfG Karlsruhe, Wilhelm Fink Verlag
2009), with the students, in which he analyzes the media world of today in its historic dimensions.
Dr. Julia Gelshorn focused on “Gender Relations in French Genre Painting” and “Images
of the Body in the 18th Century.” She also examined forms of semantization of objects and materials
from surrealism to post-minimal art and – based on the observations of American art
critic, Hal Foster – the “ethnographical turn” in contemporary art. In their seminar, Dr. Silke
Walther and Prof. Elger Esser (Department of Artistic Photography) examined the issue of artistic
self-portrayal on photo and video. This seminar was complemented by the lecture series
on photography, with speakers like Prof. Bernd Stiegler, Prof. Hubertus von Amelunxen,
and Prof. F. W. Heubach. Dr. Ingeborg Reichle (Berlin-Brandenburg Academy of Sciences and
Humanities) talked about the transgression of the self-portrait in the algorithmic image culture
of contemporary “transgenic art.” The seminar, “Bacon according to Deleuze. Logic of
Sensation,” explored the boundaries between art-historic image analysis and aesthetic theory
of the “peinture” by way of Gilles Deleuze’s essay on Francis Bacon. The change in “museum
cultures” caused by hybrid support, funding, and working models, as well as the structures
of (semi-)private “collectors’ museums,” were analyzed together with museum directors
in the German State of Baden-Württemberg. Dr. Martin Schulz dealt with “The Art of Installation”
and, together with photographer Gabriele Engelhardt, delved further into several “Positions
in Contemporary Photography.” Christian Bauer examined the present art system
through the question: “Is Art Religion?” This year’s contribution from artist Liam Gillick for
the German Pavilion at the 53rd Biennale di Venezia prompted Robert Eikmeyer to discuss
fundamental aspects of “relational art.” Based on Jonathan Meese’s prophecy of a dictatorship
of art, he also looked at positions of art history in the 20th century. In “We Are Image!,”
Daniel Hornuff and Simon Bieling reflected aesthetic, historical, and concept-building dimensions
of image-centered platforms like “You Tube” and “flickr.” Scholars Florian Leitner and
Florian Lippert of the Research Training Group [Graduiertenkolleg] enriched our course offer
with a discussion on the self-referentialism of film. Rania Gaafar and Deniz Yenimazman addressed
the digital age and the referential character of moving – filmic – images. Jörg Scheller
analyzed the somatic aesthetization of the anthropoplasm of the 18th century to the fitness
culture and bodybuilding of the 21st century.
In the section Philosophy and Aesthetics, Prof. Boris Groys and Susanne Kirsch, M.A. conducted
the seminars “Sovereignty” (fall semester) and “What is the Present?” focusing on political
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