TASWIR - Islamische Bildwelten und Moderne

 

 

Programm Workshop:

 

Prof. Dr. Almut Sh. Bruckstein

Philosopher and Curator, Director of ha’atelier – platform for philosophy and art

 

LECTURE, Tuesday May 5, 2009

 

'Pictorial Mappings of Modernity and Islam'. Aby Warburg's 'Mnemosyne' against the Grain of Orientalism

 

This lecture advances a picture atlas that reflects back upon Ottoman, Persian, and Arabic sources. In this way it constructs a 'Modernity' that cannot be called exclusively Western and provides alternative ways of viewing the relationship between 'Europe' and 'Islam'. The lecture presents an exhibition concept - to be realized in Berlin 2009 - that creates a fractal and fragmentary visual, literal and sound-narrative in association with an international workshop program with ongoing artistic and performative presentations. This curatorial and philosophical undertaking is meant to create an encyclopedic scheme of artistic and scholarly inquiry.

 

 

WORKSHOP Wednesday May 6, 2009

 

'Pictorial Mappings of Modernity and Islam' - Room-Topics of an Exhibition / Picture Atlas'

 

The curator and philosopher Almut Sh. Bruckstein introduces the eighteen rooms of the planned exhibition 'Pictorial Mappings of Modernity and Islam', demonstrating the underlying method of associating classical and contemporary artefacts by way of visual, poetic and acoustic allusions.

 

 

Maria Magdalena Schwaegermann

Curator/Producer

 

WORKSHOP Tuesday May 6, 2008 till Friday May 15, 2008 and Tuesday May 25, - Friday May 29, 2009

 

'Pictorial Mappings of Modernity and Islam' - spacial designs for a performative study hall within an exhibition' During the 3 month run of the exhibition "Pictorial Mappings of Modernity and Islam" a series of workshops will take place in an interior courtyard of the exhibition building Martin-Gropius-Bau, Berlin especially designed for this purpose. The workshops will develop an interdisciplinary curriculum on the topics from the exhibition spaces. Renowned Islam specialists, philosophers, artists, writers, etc., from throughout the world will be involved in these workshops. The workshops will be open to the public. During the workshop in May 2009 in Frederikstad the students will design the multi- functional study hall that will become the vibrant centre of the exhibition.

 

 

Oliver Schneller

Composer, Musician, Curator of intercultural and interdisciplinary projects

 

LECTURE Tuesday May 19, 2009

 

'An Atlas of Sounds. Outlining a New Approach to Sound Epistemology.' This talk presents an overview of the work-in-progress theory of sound design for exhibitions that is at the core of what I am developing for ha'atelier's exhibition 'Pictorial Mappings of Modernity and Islam'. I will first talk about some general aspects of the use of sound as an epistemic component that can be summarized as: 'context defines message.' I will present several theoretical precursors and then focus on the particular solution chosen for ha'ateliers exhibition concept.

 

WORKSHOP May 19, - May 20, 2009

 

'Acoustic Information as a Component of Exhibition Design" Section I: Some Theoretical Considerations This section examines essential concepts of sound epistemology such as Pierre Schaeffer's seminal 'Traité des objets sonores' (1966), R. Murray Shafers acoustic ecology (1973), and Jacques Attalis theory of a 'Political Economy of Music' (1985). This is necessary while we approach questions of working with sound as an epistemic component of exhibition design. Possible exercises: "sound-walks", guided listening, verbal description/classification of sounds.

 

Section II: Functional and Aesthetic Paradigms in Sound Design and Sound Art This section deals with examples from both artistic and commercial applications of sound design found in sound installations, radio art, digital media, public spaces and computer games. We will attempt to find out why certain sound are associated with certain objects, symbols and meanings. Possible exercises: Sketching out various links between visual and auditive domains, conceiving of practicable ways of balancing aesthetic/artistic and pragmatic/associative considerations.

 

Section III: Strategies for Practical Application This section deals with the actual 'nuts and bolts' of realizing an acoustic component in an exhibition design. We look at technical solutions including: audio system architecture, computer (hardware/software), spatialization, acoustics, psychoacoustics Possible exercises: constructing a simple audio network to relay acoustic information in a gallery/exhibition context.