Dr. Johannes Stahl
Culture Consulting

Here I mention some finished or current work. The reason is not just promotional, but also my wish for Your ideas and some communication. Without impulses from outside technical developments will rarely function. Cultural ones definitively will not. 

My list (sorry some announcements will remain in german language and there remains a difference to the list in german):

It has started: the art project "Fluchten", having been planned together with my collegue Ludger Hengefeld since some time for Caritas Association in the Archidiocesis of Cologne. It is about widening the narrow perspective focussing just on something like a "refugee crisis". The word is being framed by media and pictures according to it are repeated over and over again. This makes the discussion of these questions in general public an inacceptable narrow one. We hope reflecting these questions together with visual artists will help us to better perspectives towards these difficult items. The questions of flight and its perspectives are in no way new: Buddha, Christ or Mohammed have been refugees.   emergency exit sign, ww II bunker, cologne
It was inspiring: together with my collegue Martin Seidel we interviewed each other concerning art and street. Now this can be read with the title "Kunst an Straßen- Fragen über Fragen" in the journal "kultur politik" of Bundesverband Bildender Künstler innen und Künstler (federal artists association in Germany), No. 2/2016, p. 13-18. Andreas von Weizsäcker: hang over
Now, after a long time of preparation it came out: Protest Cultures, a Companion. Kathrin Fahlenbrach, Martin Klimke and Joachim Scharloth have edited the voluminous 546p book aiming to be a new standard on that item. As to be expected, my small contribution focusses on Graffiti. graffiti, engers
An attempt for an artistic research on reception undertook by Dagmar Schmidt concerning her work "Grabungsstaedte" now has lead to a publication. It is remarkable, in which many concerns this installation in the vanishing  Halle-Silberhöhe quarter has cause reactions since 2005.Biologists list how and which plants have spread taking posession of their realm, photographers with different objectifs show how the installed furniture has been used and how the concrete becomes aged. Archeologists examin the ground. I'm glad to hear that Kunstfonds and Kunststiftung Sachsen-Anhalt have funded the project - and happy to have contributed an introduction to such a fine thing. Dagmar Schmidt: Grabungsstaedte, 2005
Since some years I'm regarding works by Honoré Daumier. Now I finally wrote a small german text about his "Philantropes du jour" cyclus. Here we go.

Really, I did study this subject. Urbanistic questions always have played a role for my projects. Without a special focus towards this direction I was busy with city imagary and even offered some guided walks for different towns. May 2013 now will bring it all: it is about urban gaps in Halle and, by the end of may in Dortmund about the impact of street art on the pictural and meaningful side of towns.
"Erbarmen als soziale Form" is the name of the art project for the Caritas in Cologne aiming to install a general discussion on charity, beginning inJune 2013. Starting point is a bundle of questions on "Lebensmittel-Tafeln", which have some quite complicated impacts on social structure and social feelings. Seen historically images work with allegorical pelicans or nurses. It is worth asking for contemporary images of charity, feed and spirituality.
German homepage of the
projekt
Pelikan
"Harald Naegeli managed for years and with uncomparable rigidity, consequence and inconsiderateness to shatter the Zurich inhabitants and their faith in the inviolability of property as founded in our legal system."
This said in the 1980ies to enforce the
9 month sentence for Naegeli at court marks just one level of the multiple work of "Der Sprayer von Zürich". An intense study of his graffiti will investigate his wall drawings and will keep me busy for the next months.
Harald Naegeli, Zürich
In the course of livetime you happen to meet things several times, watch some of your interests coming back or get clearer views of correlations. During the end of my studies I was much occupied with the architecture in the time of reconstruction after WW II. Now preparing a lesson for architects offers me to give this interesting era another close look. Some keypoints are religious concerns, society-constructing forms and the mixture with art traditions.

Now it is already over: the Seminar on Public art and how to promote it given by Dagmar Schmidt (who made the foto)  and me at Halle University. During this we provisorically cleaned the mirroring ground plate of Klaus-Friedrich Messerschmidts work "Reflexion Geschichte" (1989/2000) at the regulatory authority in Halle-Neustadt. Thus we were able to see his artistic revision of his sculpture formerly standing on solid ground. And we managed to meet the "Blaues Wunder" of Düsseldorf artist Andrea Knobloch intervening in Kunstraum Kiosk hr.fleischer.
You wake up in the morning and don't know where you are. Or in the night - and this is not the place that used to be. But somehow it is looking similar: have I been here before or just dreamed I was? People who used to live regularly at two sites might know the feeling, whether they have defined strict borders between a place to live and a place to work or whether they have felt like being home at the two different places. Suspicion there might be much more to discover leads me to a contribution to "Doppelleben ... Sein an zwei Orten", a project that Dieter Hofmann is occupied with since some time at Burg Giebichenstein. I am curious: in the end this should lead to well-designed new objects.
How do we find public art? is the key item of a teaching project which Dagmar Schmidt and I will have in Wintersemester 2012/13 at Institut für Kunstgeschichte und Archäologien Europas of the Halle - Wittenberg University. We can count on the experience we made during our curatorial grant in summer. Hinweisschild nowhere in Nordschweden
I cannot help it: I am fascinated by cars as a cultural phemonenon though I never had one for myself. It might have to do with the fact that some of the first words I was able to pronounce were car companies. The multiple slogans of many years have remained in my ears, too. The elegant remarks Roland Barthes (Mythologies, 1957; deutsch Mythen des Alltags, Frankfurt am Main 1964) opened my eyes to some hidden cultural levels of these vehicles, f.e. the "déesse" (goddess), which was really new as Citroen DS. During the 1960ies as a child I was much occupied constructing this car with my Lego toys. Auto
Could things create love affairs if they were able to look around in space? "space affairs", the exhibition of artist, architect and poet Marc Mer opens this question. In Wien he has chosen from the MUSA collection some crucials art works and positioned them in the exhibition hall. My text for the catalogue for it focusses on the relation of spectator and things toward spaces today.
Seems like 2012 will be a time to focus a lot more on curatorial questions. Kunststiftung Sachsen-Anhalt awarded me a grant (together with Dagmar Schmidt). Here are some hints to basic thought. Special events are programmed: a public sculpture walk focussing on questions of promotional shares in the artwork. Or a talk about "Skulptur Gewächshaus", an art work by Johanna Bartl, Wieland Krause and Olaf Wegewitz that was mentioned before.
It exists since 1987: Kunsthaus Rhenania - situated in the middle of the booming Cologne Rheinauhafen quarter. this forner Speicherhaus (built in 1926) offers working space for visual artists, musicians and theatre people and have a sepcial place for cultural events. My project "Rhenania in[tro]spektion" puts up an exhibition which could mark the start of a series. The Kunsthaus is focussing on public effect and exchange with other art scenes elsewhere. Because of this the regards go to the own infrastructure.
As a professional field it is as interesting as  traditional: the interchange between religion, art and promotional questions. one o my activities since 2011 are exhibition talks in Kolumba Art museum of the
Archdiocese of Cologne. This massive and sophisticated building ba Peter Zumthor, the multilevel situation in the centre of cologne and the convincing collection of this house enrich these talks with a widespread range of different visitor groups.
Kolumba, Blick in die archäologische Zone 2011
The Cologne Street Art Festival CityLeaks saw me engaged:  I find an impulse for working at facades of the Inner City an the Ehrenfeld quarter is remarkable, as is the fact that artists were free in chosing their actions. I specially liked the mixture between alternative locations such as  Kolbfabrik (here I was involved in "Archive Flickering"), the basic discussion of such activities ("Cityleaks Symposium") and the slippery floor of official points of view. Ending a series of pictures on typical quarter-items, the sophisticated contribution by L.E.T. now forms the wall's accent in front of Bürgerzentrum Ehrenfeld. "I will never say what You want to hear" is to be read: a laconic remark on tensions between consensual culture and juvenile rebellious consciousness. L.E.T.
My last visit to dutch Heerlen saw a confrontation of two fields of art promotion facing each other with extended animosity. A campaing for the newly-installed public art loan scheme attacked the existing public sculpture. With tusks, it seems.
So I took some
situational fotos of this clash of cultures and tried to adept to this Heerlen Invasion by a text (here as a pdf-file, german, with a possibility that a dutch version will follow).
elephants everywhere
For Klub7 I wrote a text which will give an introduction to an overview of works this interestng artists group has done. This will come out in the publication series Design / Designer by Paris-based Pyramyd Editions. As the printed version appears in french and english look here for the german text.
jan 2011
Klub7
Suitcases normally are few inspiring useful things which usually hide their content. Who goes deeper or reads Hans Christian Andersens special fairy tale will recognize that these containers mean mor than they are supposed to mean.  As a gift when leaving Halle I got a suitcase full of art - which resulted in some considerations I wrote on the item.
Some (more systematical) text about art suitcases as a pedagogical means is now planned for 2011.
dec 2010
Koffer
At the Art Fair I ran into someone who stated: I don't hear anything about You now. Do I receive Your newsletter? Shortly after that, the same ting happened again. Since now I don't know whether I should take this serious. Did the habits of bilateral informations alter in a way that now I behave like not normal and not communicative? To be honest: I like to receive individual letters, post cards, e-mails or calls. Mass mails I appreciate less. In relations to social networks I have quite some restrictions. Therefore I have been reluctant to accept invitations to be their part. Here are some reasons (sorry, just in german language). social networks
It is as interesting as traditional: the relational field between between church, art and promotional questions. One of my future activities from 2011 on will be museum talks in Kolumba which is the art museum of the
Archdiocese of Cologne. The massive and at the same time filigrane building by the swiss acrhitect Peter Zumthor, the multi-level situation of this location in the centre of cologne and last not least the convincing collection of this museum make the talks to an challenging demand.Facing now the second of the annual exhibition changes, I am occupied with the new focus and title - which is "thinking".
Peering into the archeological site, forming the base of the museum.
Lecture at the International Conference "Straßen. Von der Frühgeschichte bis in die Moderne. Verkehrsweg - Kulturträger - Lebensraum" ("Roads From early history to modern transport route - Bearers of culture - living space," Thomas Morus Akademie Bensberg 7.-10.2.2011.
Already quite a while ago the term "street art" joined two
spheres which otherwise are not necessarily related to each other. In addition to the art phenomenon which today has a streamline way to gain attention my contribution asks for those conditions, which road gives to art. On this basis, a further focus will open the discoures towards general cultural history.
oct 2010

Hinweis, Oxford
Paper presented at the Reichenau Artist Days 2010, Island of Reichenau, 10.-10.12.2010. General theme of the meeting: Image - representation.
This year's Cultural Days of Reichenau confronts ecclesiastical and artistic ways of thinking and theories of the picture. Objects here are the history of the exegesis of the holy bible, the Church's current criteria, philosophical and art-theoretical aspects.
My presentation: changing perspectives. Art and Church in interaction. Contact

Anton Pilgra: Selbstporträt im Wiener Stephansdom, 1515
International Conference on "Color in Education" at Burg Giebichenstein Halle, 29-31.10.2010, with more than 70 participating speakers and workshops, coming from many areas of education, as well as representatives in education policy and a major thematic exhibition.
My presentation is: street soccer players of color. About some constant factors of the (self-) education in street art.
Conference Programm
Detail aus Brüssel
"VOOR NIKS" is about artistic giveaways, how easy You can get them, what they are heading for and what use You can really have with them. Starting from Burg Giebichenstein the Halle University of Art and Design, the exhibition takes place in kus, a small Dutch Art Association of Heerlen. Unlike the more historically-based precursor, the exhibition "Giveaways" (2002), a range of exciting artists from Halle, Heerlen and Maastricht are actively involved. In the development of the project, the show goes to Halle, in the impressive kiosk of the art initiative "hr.fleischer".
Introduction (D)
Further Information (NL/D) and Images
kuS (Kunstencentrum Signe), Heerlen (NL)
"hr.fleischer" Kiosk am Reileck, Halle / Saale (D)
voorniks
Vormals an anderer Stelle bereits abgebildet, möchte ich hier noch einmal gesondert auf ein Kunstwerk im öffentlichen Raum hinweisen, das mir sehr am Herzen liegt und das zur Zeit durch Zerstörung bedroht ist. Es Handelt sich um die "Skulptur Gewächshaus" der Künstler Johanna Bartl, Wieland Krause und Olaf Wegewitz. Seit einigen Jahrenwächst in ihrem Inneren  - so das Konzept der Künstler - die Natur unbehelligt weiter. Diese überzeugend im Bereich des alten Klostergartens in Magdeburg platzierte und "angewachsene" Arbeit möchte der OB der Stadt, Dr. Lutz Trümper, nun aus der Innenstadt und vom Elbufer weghaben. Dabei scheint er weder wahrhaben zu wollen, dass der Standort Teil der Arbeit ist noch dass gerade der prozessuale Anteil richtungsweisend die älteren Arbeiten im Bereich des Kunstmuseums Kloster Unser lieben Frauen bereichert. Dass das zudem ein Geschenk des Landes an die Stadt war, macht die Sache nicht einfacher.

Bartl/Krause/Wegewitz: Skulptur Gewächshaus
Ending my work in Halle has some sentimental taste, but most of all, the impression remains to have done useful work, having given positive impacts, and being there in the right place. Both personally and institutionally a whole series of contacts continue and some projects arose. It is still an open question to what extent this will have lasting effects on my new plans.
transient_london08

Having been occupied with papers on Art in public realm and architecture-related art, it was time to make this an item in seminars. Connecting this teaching forum with everyday reality I expect impulses for both sides, specially as this item is in focus for a number of institutions, who want to locate this theme more often in public discussions ans in teaching.

Claes Oldenburg / Coesje van Bruggen: Giant horn. Köln, Neumarkt
>An old flame does not die<, they say. After my intensive occupation with graffiti and other signs at the walls during my doctoral thesis this interest weakened a bid in my professional life. Since then a lot has happened. More than 25 years later I started again. The result is a wide-spread book about street art and graffiti which bundles recent trends and older results. It is not only the artistic awakeness for the public walls which matters here, but also all those questions of mediation which have gained more and more importance for an information society.
Here are some hints by my publisher Ullmann-Publishing.
Invader in London, 2008

Die Kunstgeschichte als lebender und sich entwickelnder Organismus von Bildern, Gedanken, gelebten Gefühlen und gesellschaftlichen Verhältnissen: Das ist ein grundlegend wichtiges Arbeitsfeld für Ausbildung, vermittelnde Praxis und beratender Tätigkeit. Und offensichtlich gilt das für so unterschiedliche Bereiche wie die künstlerische  Selbstdarstellung und seine Fremdwahrnehmung, für Fragen der Wand oder für Methoden und Triebfedern gesellschaftlicher Arbeit.


Seminare hierzu:
Annäherung an die Kunstgeschichte

Umbrüche, Umstürze, Umbauten

Wiki-Kunstgeschichte

 

Beschriftung, Alte Nationalgalerie

My projected book "Der interaktive Blick" is finished and will soon be available as an e-Book.

Bocca della veritá, Norditalien

Er liegt noch immer nur passagenweise vor: mein Beitrag zum aktuellen Kunsterklärhype. Der Titel steht jedoch schon ziemlich fest:
Wie erkenne ich schlechte Kunst?

 

Kunsterklärungen

Zur Ausstellung "Skulptur Projekte Münster 2007" ist ein Kinderführer (9.80 €) zu haben, für den ich die Texte verfasst und spannenderweise mit den Illustratoren Christoph Mett und Philipp Seefeldt zusammenarbeit habe.

Näheres unter: http://www.skulptur-projekte.de/information/publikationen/

oder

http://www.coppenrath.de/anzeigen_aktuelles.php?
id=123&table=aktuelles&n0=aktuelles&n1=news

Skulptur Projekte: Kinderführer

Wirtschaft als Kunstfaktor: ein Salon.

Als Einstieg in die Arbeit an der Hochschule für Kunst und Design Burg Giebichenstein Halle 2007 begonnen, hat sich das Thema weiterentwickelt.

Am 15.4.2010 ging es im ungewöhnlichen abendlichen Veranstaltungsformat des Kölner Salons um die Wechselperspektiven zwischen Wirtschaft und Kunst.

geldgeldgeld1geld1
Der Nachhaltigkeitsaspekt interessiert mich auch für das freie Projekt "10 years after. Zu präh- und postaktuellen Situationen". Hier geht es um den Zeitabstand, der einen klareren Blick ermöglicht, historisch oder prophetisch. Und nicht zuletzt um all das, was durch den Aktualitätskult möglicherweise allzu rasch wieder aus der Optik verdrängt wird. William Hogarh, Time Smoking a Picture, 1732