POSTPONED! Center for Cartooning and Low Comedy – Diana Baldon
POSTPONED: Center for Cartooning and Low Comedy – Diana Baldon
Lectureseries / 24.11.2021
ATTENTION! The lecture will be postponed due to health reasons. New date will be announced as soon as possible.
Within the Center for Cartooning an Low Comedy lecture series, Diana Baldon speaks.
The most dangerous job in the world
Diana Baldon: Ad Reinhardt´s art vs. history
As the South African painter Marlene Dumas stated: “Anyone interested in the difference between paintings and pictures has to address Ad Reinhardt. [...] Anyone who enjoys critical writing about art and appreciates irony and humour [...] cannot but love Ad Reinhardt.” Through a series of exhibitions realised between 2015 and 2017, this talk will explore a still largely unexamined aspect of Ad Reinhardt’s visual practice. Although the American artist is predominantly known as an abstract painter, they presented over 250 of his original political cartoons, satirical art comics and collages selected from the archives of the Estate of Ad Reinhardt, New York. Reinhardt first developed an interest in painting and cartooning as a child, talents he first put to practical use in numerous school publications and summer jobs from grade school through college. Throughout the 1930s and 1940s, both during and after the four years he was employed by the United States Federal Art Project in the Easel Division as an abstract painter, Reinhardt created over 3,000 witty cartoons and cover illustrations, which appeared in a wide range of American publications. These included the periodicals New Masses, The Student Advocate and The Fight Against War and Fascism; magazines as diverse as Glamour, Listen, and Ice Cream Field; as well as baseball yearbooks and The Races of Mankind, an anti-racist pamphlet that sold over a million copies.
Diana Baldon is an Italian curator, art critic and educator specialized in contemporary art and museology. She is the Artistic Director of Kunsthal Aarhus, Denmark. She received a Master Degree in Creative Curating in 2002 from Goldsmiths College, University of London. Between 2007 and 2011 she was the Curator-in-Residence and a lecturer at the Academy of Fine Arts Vienna. As a freelance curator, she has realised exhibitions in many international institutions such as, among others, the Mudam - Musée d’Art Moderne Grand-Duc Jean, Luxembourg and MIT List Visual Arts Center, Cambridge / Massachusetts (both 2017); Generali Foundation, Vienna (2012); the Athens Biennale, Greece (2009) and Thyssen-Bornemisza Art Foundation, Vienna (both 2009); the Moscow Biennale, Russia (2007). Her critical writing has been featured in numerous artists’ catalogues and international art magazines such as Artforum, Texte zur Kunst, Flash Art and Afterall.
24.11.2021, 6 pm
Auditorium, Speicher XI 8, 28217 Bremen
(3G rules apply.)
Credit: One of 276 Original Cartoons by Ad Reinhardt, 1933-47, (Ink, gouache, coloured pencil and collage on paper) from the exhibition HARD TO PICTURE:
A TRIBUTE TO AD REINHARDT (Curators: Diana Baldon; Marie-Joelle Farcy) at Mudam - Musée d’Art Moderne Grand-Duc Jean, Luxembourg (2017-2018).
The Center for Cartooning and Low Comedy is dedicated to the practice, research and promotion of cartooning and low comedy. It sees them not merely as artistic forms, but as an ethical and intellectual stance. It takes its departure from the understanding that what we perceive as reality is always already a form of caricature, a grossly simplified and biased model. If abstraction wants to reduce the world towards an ideal, cartooning reduces it towards the grotesque; neither has much to do with the truth. Over several decades, the HfK has attracted an unusually large number of faculty and students who worked in the spaces where art, illustration and comedy overlap. We see this as an underappreciated, local resource, as something that distinguishes the school from other art academies.
Recent cultural and political trends have created new challenges for cartoonists and comedians. In many places, caricature has become a dangerous pursuit while at the same time politics and culture haver become more cartoonish. The number of world-leaders or powerful strategists who are also comedians or entertainers is growing. Traditional forms of comedic subversion and criticism don’t have the effect they used to have. Print media, the natural habitat of cartoons, are eroding. The sense of a shared reality, which is the launch-pad for any joke, is slipping. Cartooning and joking have become complicated. For this inaugural lecture series, CCLC invited highly accomplished artists and theorist to discuss their approaches to cartooning and low comedy in the context of our strange new reality. The series opens with Diana Baldon. Future guests include Madam Adam, Stefanie Sargnagel and Anna Haifisch.
(Postergraphic by Te I Um)