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#23 Emotion and Surprise
2008

Städelschule, Frankfurt Art Academy

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The Städelschule in Frankfurt am Main is one of Germany’s most well known art academies. Founded in 1817 by the Frankfurt merchant and collector Johann Friedrich Städel, it has today developed into an experimental school with an international faculty and with students from across the globe. The school has its own exhibition space, the Portikus, which is located on a small island in the middle of the city of Frankfurt. Some 150 shows with prominent artists visiting the school have been staged in this laboratory for new art.

Many important artists have been teaching at the Städelschule, from Max Beckman to Gerhard Richter and Hermann Nitsch. Today’s faculty includes artists Wolfgang Tillmans, Simon Starling, Martha Rosler and Tobias Rehberger, as well as critic Isabelle Graw and the architect Ben van Berkel. Since 2001, the Städelschule is directed by Daniel Birnbaum.

STAATLICHE HOCHSCHULE
FÜR BILDENDE KÜSTE
STÄDELSCHULE
Dürerstrasse 10
D-60596 Frankfurt am Main
0049 (0)69 605008-0
www.staedelschule.de

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Images

  • Silja Nordhoff

    ZEITGENÜSSISCHES. 2008

  • Wolfgang Günzel

    Städelschule / Portikus

  • Janus Hochgesand

    SURVIVAL CAVE FOR KURT COBAIN. 2007

  • Andrei Koschmieder

    SCYSCRAPER. 2006

  • Maria von Hausswolff

    Public space from New York - WOOD AND TREE. 2007

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    ZEITGENÜSSISCHES. My works reflect the phenomenon of seduction and addiction which are visualized in an overdose of sweetness. Addictions that pretend security and support in a confusing world but whose inherent immoderation of unbounded enjoyment provides new risks. This puts the human being in appearance of beauty and pleasure mainly without defending oneself in a new straitjacket. The original beauty has been increased to such an extent that it turns over in a deep disgust. The sensuality and tactility that are stemming from these works can simply stand for itself, but glorification and fetishising don’t stop lighting up. It’s a provocative interplay between attraction and repulse.

  • Silja Nordhoff

    View from the inside of the installation Zeitgenüssisches. 2007

  • Andrei Koschmieder

    BLING BLING BANG BANG. 2006

  • Andrei Koschmieder

    CATALOGUES. I found these catalogues produced by artists in the Nineties. By cutting out the images and text the catalogue lost all it’s content. 2003

  • Andrei Koschmieder

    SHELF, N-P. 2007

  • Hanna Hildebrand

    VERY WELL INSTALLED. Everything in this kitchen seems there by chance, as if would be part of the life flow but in the same time seems absolutely well placed. Like watching an advertisement photo, there is a recognition of something familiar and as well of something totally artificial.

  • Andrei Koschmieder

    O.T., 2007

  • Andrei Koschmieder

    O.T., 2007

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