BAAD Art Center


Artists Lectures at BAAD

  • 16.1.14

    Desastrology » - such is our epoch, what now?

  • 16.1.14

    Desastrology » - such is our epoch, what now?

    A Dialogue between Joseph Cohen and Raphael Zagury-Orly

    Petah Tikvah

    Museum This word, “desastrology”, forged by Jacques Derrida is also the title we have chosen to give for this Symposium. It plays on both “disaster” and “discourse”, on the disaster of discourse or on the discourse of disaster. We have appropriated this title also for our dialogue in which is opened a reflection on our actuality and most particularly around this question: “is our epoch facing yet another “crisis” or are we today confronted to a wholly other, sensibly graver and abyssal, situation?”

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    Yael Messer

  • 23.12.13

    Yael Messer

    Who cares about public art?

    Istanbul Biennial in 2013 as a test case . Yael Messer, an independent curator and co- curators of the Biennial team in Istanbul.

    Istanbul Biennial which closed a few weeks ago sought to raise questions of citizenship and barbaric face of G'ntrafiktzih processes and urban changes . These issues were civil awakening validate the expansion took place in Turkey this year and the violent response of the authorities . This unique situation buoyancy series of questions and problems related to the job biennial art events and international critical and complex relationship between the Biennale , which the participating artists , residents and local authorities. Way that responded to the biennial events led to much criticism in the art world and beyond and made it a fascinating test case of the relationship between the political space space aesthetic .

    Bring lecture Yael Messer, co- curators of the biennial team , the sequence of events ; tell the decision Haotzrtiot received in response to the situation in Turkey , and lists the various checks were made against these decisions . Lecture / Talk will focus on the role of art in public space and a crisis in the relationship between activism and art in comparison to other test cases such as the recent Berlin Biennial in Kassel Documenta .

  • Jeffrey Schnapp


    Jeffrey Schnapp

  • 5.5.13

    Jeffrey Schnapp

    Until joining the Harvard University faculty in 2011, Jeffrey Schnapp was the director of the Stanford Humanities Lab from its foundation in 2000 through 2010. At Stanford University he occupied the Pierotti Chair in Italian Literature and was professor of French & Italian, Comparative Literature, and German Studies. Though primarily anchored in the field of Italian studies, he has played a pioneering role in several areas of transdisciplinary research and led the development of a new wave of digital humanities work. His research interests extend from antiquity to the present, encompassing the material history of literature, the history of 20th century architecture and design, and the cultural history of science and engineering. Trained as a Romance linguist, Schnapp is the author or editor of twenty five books and a large corpus of essays on authors such as Virgil, Dante, Hildegard of Bingen, Petrarch, Machiavelli, and Filippo Tommaso Marinetti, and on topics such as late antique patchwork poetry, futurist and dadaist visual poetics, the cultural history of coffee consumption, glass architecture, and the iconography of the pipe in modern art. His book Crowds was the recipient of the Modernist Studies Association prize for best book of 2006.

    At Harvard, he is Professor of Romance Languages & Literatures, teaches on the faculty of the Department of Architecture at the Graduate School of Design, and serves as faculty co-director of the Berkman Center for Internet and Society. In February 2011, he founded a new laboratory under the aegis of the Berkman Center for Internet and Society: metaLAB (at) Harvard with his collaborators James Burns, Daniele Ledda, Kara Oehler, Gerard R. Pietrushko, and Jesse Shapins.

    Schnapp is the co-editor of the Johns Hopkins University Press quarterly Modernism/modernity, the official journal of the Modernist Studies Association, and is also a guest curator who has collaborated with several leading museums: among them, the Canadian Centre for Architecture, the Cantor Arts Center, the Wolfsonian-FIU, the Triennale di Milano, and the Centro Internazionale di Studi di Architettura Andrea Palladio. His Trento Tunnels project — a 6000 sq. meter pair of superhighway tunnels at the entrance to the Northern Italian city of Trent, repurposed as an experimental history museum, has undergone two editions since 2008: "I Trentini e la Grande Guerra (Il popolo scomparso/la sua storia ritrovata)" (2008-2009) and "Storicamente ABC" (2010-). The project was included in the Italian pavilion of the 2010 Venice Biennale of Architecture and has also been exhibited at the MAXXI in Rome.

    A lengthy 2009 interview with Pierpaolo Antonello from the University of Cambridge, England, regarding his work was published in "Italian Studies" 64.1 (spring 2009), pp. 144--162.

    An open edition of the co-authored "Digital_Humanities" is available here. A copy of the related "Short Guide to the Digital_Humanities" may be found at

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    Jonathan Meese

  • 21.1.12

    Jonathan Meese

    In collaboration with the Bezalel Academy of Art and Design Bezalel MFA: Guest Jonathan Meese.

    coordinator: Naomi Lev

    Jonathan Meese is a German painter, sculptor, performance artist and installation artist based in Berlin and Hamburg. His works include collages, drawings and writing. He also designs theater sets and wrote and starred in a play, "De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur" in 2007 at the Volksbühne Theater.

  • nicolas Bourriaud


    Nicolas Bourriaud

  • 12.12.12

    Nicolas Bourriaud

    In collaboration with the Bezalel Academy of Art and Design MFA

    Guest: Nicolas Bourriaud

    Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society?

    Nicolas Bourriaud attempts to renew our approach towards contemporary art by getting as close as possible to the artists' works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
    The aim of his essay is to produce the tools to enable us to understand the evolution of today's art. We meet Felix Gonzalez-Torres, Louis Althusser, Rirkrit Tiravanija or Félix Guattari, along with most of today's practising creative personalities.