PhD in Practice in Venice 2017
Exhibition, September 8 October 15, 2017
Concept: Anette Baldauf, Renate Lorenz and the PhD-in-Practice Program at the Academy of Fine Arts Vienna
Research Pavilion, Campo S. Cosmo, Giudecca 621, Venice (Vaporetto stop Palanca)
Opening hours (May 11-October 15): Tue-Sun, 10am-6pm
In times of violent political upheaval, the exhibition explores the conjuring of specters as a proper method of arts-based research. They welcome the appearance of ghosts—events, signs, images, practices and objects that recount the ferocities of the past while also holding the potentiality of a different future. Building on a glossary of hauntopic devices, the exhibited works make use of formats that employ ephemeral, opaque, or sci-fi elements and explore a range of ghostly aesthetics.
Artists: Aline Benecke, Katalin Erdődi, Zsuzsi Flohr, Sílvia das Fadas, Moira Hille, Zosia Holubowska, Hristina Ivanoska, Janine Jembere, Ruth Jenrbekova, Belinda Kazeem-Kamiński, Rafal Morusiewicz, Lisa Nyberg, Read-in, Naomi Rincón-Gallardo, Masha Godovannaya, Keiko Uenishi.
PhD in Practice at the RUNDGANG / Academy of Fine Arts Vienna
HAUNTOPIA / What if – A Glossary
Thursday 19th – 6-8pm and Friday 20th – 2pm-8pm
Performances, Screenings, Food, Drinks, Installations, Discussions….
The methodology of haunting meets utopia: As we conjure ghostly matters to make the unresolved social violence of the past appear in the present to demand their due, our artistic practices invite ghosts to dance and trace the possible future in the here and now.
at mumok
Wednesday June 8th, 2016, 6-10pm, doors open at 5:30pm


(picture by Sílvia das Fadas)
PhD in Practice invites you to a circular evening with performances, screenings and concerts, drinks and food — a séance with haunting futures and possible pasts. Traveling through gaps of imagination, summoning ghosts of the colonial presence, following traces of unfinished revolutionary moments. Momentary openings of I-think-I-knows, animated suspension, presence of absence. Do not be afraid.
With Anette Baldauf, Aline Benecke, Sílvia das Fadas, Zsuzsi Flohr, Moira Hille, Zosia Holubowska, Hristina Ivanoska, Janine Jembere, Belinda Kazeem-Kaminski, Renate Lorenz, Rafal Morusiewicz, Lisa Nyberg, Naomi Rincon Gallardo and Keiko Uenishi
Rundgang 2016
Thursday, January 21st, 2017

palakat rundgang 2016

Rundgang 2015
speaking in tongues
Thursday, January 22nd, 6-9pm
DG12, Academy of Fine Arts Vienna, Schillerplatz 3
the PhD in Practice invites you to a “performances on demand” evening

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Defensio/Exhibition 2014
PhD in Practice: Michael Baers, Ana Hoffner and Elske RosenfeldOpening | 07.10.2014, 6.00 p.m.
Exhibition dates | 08.10.2014 – 17.10.2014
Venue | Academy of Fine Arts Vienna, Schillerplatz 3, 1010 Vienna, Aula
Exhibition on the occasion of the dissertation of Michael Baers, Ana Hoffner and Elske Rosenfeld.In fall 2010 the Academy of Fine Arts started the PhD in Practice program. An international committee selected eight PhD candidates and in the course of their dedicated study, these candidates pursued their individual artistic research projects as much as on they gave life and shape to the PhD in Practice program. Now, four years later, the Academy is proud to cordially invite you to the opening of the exhibition of the work of the first three PhD candidates, who have concluded their studies.


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Michael Baers presents his poster works Decolonizing Architecture: Four Human Landscapes and A Beyond that Doesn’t Get You Anywhere as well as his work An Oral History of Picasso in Palestine, a graphic novel, which engages with a specific event that took place in 2011: A painting by Picasso, Buste de Femme, from 1943, owned by the Van Abbemuseum in Eindhoven/Netherlands, travelled to the West Bank/Palestine and was on display for a short time in an improvised gallery space at the International Academy of Art, Palestine. By studying this specific event in detail, Baers’ artistic research project investigates and exemplifies methods of governance, which are employed in the occupation of Palestine on a larger scale.
Michael Baers, An Oral Histroy of Picasso in Palestine, 2014
Ana Hoffner shows her artistic research The Queerness of Memory. Historicity, Belatedness and the Embodiment of Trauma. Her video installations After the Transformation and Transferred Memories, Embodied Documents, as well as two photographic works Future Anterior: Illustrations of War and The Queer Family Album intervene into the master narratives about the transformations in Eastern Europe after 1989 and the wars in former Yugoslavia. Here filmic and photographic sceneries are based on performance, fiction as well as found materials and intertwine memories of violence with the vulnerability and agency of queer bodies. They thus experiment with a “queerness of memory,” which allows to avoid a clear-cut division into victim and perpetrator and instead employs difference or alterity without appropriating or explaining it.
Ana Hoffner, After the Transformation, 2013
Elske Rosenfeld‘s work addresses the relationship between specific historical events and contemporary scenarios of political action, and the potential for political change. Her thesis project A Vocabulary of Revolutionary Gestures consists of a video work, performance, and text that circle around a video clip from a revolutionary assembly in East Berlin in 1989, and a few documents from other situations of revolution or protest. Gestures, movements, and body parts taken from these are developed into abstracted filmic or performative interventions that address the body as the site and archive of the political event.
Elske Rosenfeld, A Vocabulary of Revolutionary Gestures, 2014


Chronic Times
This edition addresses chronopolitical questions in the realm of art, which form a kind of opposite pole to the logic of the acute. Whilst linear, progressive and quantifiable temporal sequences define established nation-state, capitalist and heteronormative structures, they simultaneously also provide a frame that can serve to help conceptualise event-defined, topical and urgent issues. In contrast, “chronic” modes of observation take the latent, long-term and quotidian as their point of departure: it is not the war in the Balkans or the AIDS crisis that are examined, but instead the “time after”, although here it is often not clear precisely what forms the trigger for these kinds of enduring states and whether these will ever come to an end again. This is also exactly where excesses are to be found, extending far beyond what can be articulated or is en vogue at a particular moment. In conjunction with the PhD-in-Practice program of the Akademie der bildenden Künste Wien, this edition seeks to trace the contours of this other form of temporality, running right through a diverse spectrum of art practices. Publication date: January 15, 2014
Link: springerin.at
Let’s collectively produce cracks in time! Anonymous, 2030
Shifts in Time: Performing the Chronic

a circular sequencing of performances, readings, screenings, food / drinks, and narrativesMumok KinoMuseum Moderner Kunst, MuseumsquartierWed, May 8, 2013, 5pm – 10pmCome have drinks and food at the bar! In the company of Nika Autor, Michael Baers, Anette Baldauf, Mareike Bernien, Giulia Cilla, Ingrid Cogne, Eva Egermann, Yasmine Eid-Sabbagh, Till Gathmann, Moira Hille, Ana Hoffner, Hanna Husberg, Annette Krauss, Renate Lorenz, Xiaoyan Men, Mamamon Thai Kitchen, Elske Rosenfeld, Anna Tzini, and their guests Jelena Petrovic, Maiko Tanaka and Serena Lee.Produced by: PhD in Practice, Academy of Fine Arts, Vienna.The different interventions try to raise questions of how to engage with time and the untimely in order to unfold the use of the temporal in memory, history and politics. Interventions into hegemonic time patterns are rehearsed through dislocating, shifting, metamorphosing, and re-framing.An asynchronous evening with a lipstick, medial references to the Omarska camp, 108 colored plastic bottles, a Sojourner Truth speech, and a fictive band, reconsiders past moments for a future use and to produce discontinuous temporalities.A multi-video installation on the deconstruction of objects related to the spactio-temporal closet and the extent of the performatives surrounding them. * Photographs that capture the desire of the photographer as well as the position of village women who provide the central core of Chinese culture. * A performance lecture assembles bodily movements and gestures taken from footage of the end of a strike in 1968, the revolution in East Germany in 1989, and from Tahrir 2011/12, to configure the three different historical instances as a recurrent and physically constituted revolutionary outside to the political status quo. * A short performance works with the physical proximity between performer and audience in an enclosed space in relation to the postures of bodies in recent assemblies or occupations in streets and squares – an attempt to re-open a political space through physical shifts and mimesis. * From the context of a black box (stage) to the situation of a table, a performance will be restaged. The piece is a diptych composed by a choreographic proposal and a booklet. * Studying divergent transcriptions and witness reports of Sojourner Truth’s speech “Ain’t I a woman”, delivered in 1851, the Read-in collective invites to experiment with techniques of (re/dis)locating text, learning by heart and listening intonationally. * An experiment of extending photography to challenge the archive as a solution for storing the visual memory of Burj al-Shamali refugee camp. This experiment is based on a long-term stay and research in the camp, southeast of Tyre, Lebanon. * A performance of artistic research principles crossing questions of the document, the subject-object relation, and transference in reflection on the historicity of the letterform V, the 8th of May, hence remembering loss and betrayal. * The video “After the Transformation” documents the voice coaching of a transgendered voice and unfolds questions of physical and political transformations through queer memory. * A short video is showing some sequences of a rehearsal situation. friendly musicians (from the groups “plaided”, “bad weed” and “the golden sikhs”) meet unprepaired in a rehearsing room. an experimental set up with different artefacts, posters, materials and an undefined outcome. * Three headphones placed on a sofa diffuse a narration on human meteorologies, a transparent miniature standing on the backside of a vinyl lays on a table. Videos are screened on four monitors. * Video fragments are engaged in questions that marked ex-yugoslav space. * A short video showing the Punta Carretas prison in Montevideo, Uruguay, which, in 1971, first gave rise to one of the biggest break outs in history, and then after the dictatorship, the prison was recycled as a shopping centre. Within an instance in history, this work attempts to tackle the indissoluble and conflictual fictions between a disciplined, absent-minded time and an over present past that resists to fade out.


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Thursday, January 24, 2013, 6-9pm / Friday, January 25, 6-9
phd in practice events as part of RUNDGANG 2013
Schillplatz 3, DG 12
Thur: downtime6-9: Participants of the phd in practice program engage in chronopolitical events (performance on demand). Visitors are welcome at any time between 6 and 9 pm.Fr.: uptime6-9: cooking, talking, discussing, eatingWednesday, January 23, 2013, 6-7pm
Touching Across Timeacademy of fine arts vienna (Nika Autor, Mareike Bernien, Giulia Cilla, Eva Egermann, Ana Hoffner, Elske Rosenfeld as well as Renate Lorenz)A performative presentation by PhD in PracticeNovember 16, 2011, 7pm, Aula
by Elisabeth SubrinNovember 16, 8pm, Aula The screening will be followed by an Q & A with Elisabeth Subrin.1997 / Super 8 / 16mm, 37:00“A cinematic doppelganger without precedent, Elisabeth Subrin’s Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint—and in Subrin’s words, ‘to investigate the mythos and residue of the late 60s.’ Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film.”—Mark MacElhatten and Gavin Smith, Curators, Views from the Avant Garde,The 36th New York Film Festival, Lincoln Center, New York“Although Firestone is the nominal subject of Shulie, over the course of the film it becomes clear that what Subrin is really after are questions of gender, documentary truth, historical memory and how those terms twine, and sometimes, knot together… In her witty, generous fashion, Subrin not only recreates a lost moment in Shulie, she gives it new context, even as she boldy takes on that familiar and confounding question, What is cinema?”—Manohla Dargis, LA Film Critics Association 1998 Achievement Awards
Chewing the Scenery / live event 2Sept. 7, – Sept. 10, 2011
Venice BiennialA Live Event consisting of an evening of music performances and concerts followed by three days of lectures, screenings, performances and discussions along the concepts of Becoming Imperceptible, Feeling Bad and Touching Across Time.Teatro Fondamenta Nuove – Cannaregio 5013, Venezia, opening hours: 10-6 (closed on monday)
http://www.chewingthescenery.net/September 7, 2011 · from 20:00
MOTHER introduce: Live Light & Sound Installation:
Alona Rodeh Concerts: Maya Dunietz, Vera NovemberSeptember 8, 2011 · from 16:00
Becoming Imperceptible
Introduction: Elahe Haschemi Yekani
Lecture: Rubia Salgado
Performance: Eran Schaerf
Film Screening: Maria Iorio / Raphaël CuomoSeptember 9, 2011 · from 16:00
Feeling Bad
Lecture: Sara Ahmed
Lecture: Sarah Franklin
Film and video program curated by Karin Michalski
(moderated by Renate Lorenz and Karin Michalski)
with special guest Emma Wolukau-WanambwaSeptember 10, 2011 · from 16:00
Touching Across Time
Introduction by Pauline Boudry and Renate Lorenz
A performative presentation by PhD in Practice /
academy of fine arts vienna (Nika Autor, Michael Baers, Mareike Bernien, Giulia Cilla,
Eva Egermann, Ana Hoffner, Elske Rosenfeld as well as Tom Holert, Renate Lorenz and Johanna Schaffer)
Lecture: Elizabeth Freeman
Lecture: Mathias DanboltFrom Sept 7-Sept 10, the exhibition (No Past / No Future by Pauline Boudry / Renate Lorenz and publication ‘Chewing the scenery’) is open only from 10am – 2pm.The program from September 8 to 10, 2011 is acoustically framed by Fred Hystère & Ginger Drops Downstairs DJ collective and Jenny Woolworth. Curated by Andrea Thal. In collaboration with: Pauline Boudry / Renate Lorenz, Karin Michalski, MOTHER (Dafne Boggeri, Noga Inbar, Nicole Emmenegger) und PhD in Practice/Academy of Fine Arts Vienna

No Future/No Past, 2011, Pauline Boudry/Renate Lorenz