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Schedule of the Live Actions
SATURDAY, 26.07.2025
- 15:30 4.9-square-meter mat, Geumok Oh
Vestibül 1.OG - 16:00 Safe Spaces, Zahra Ghadimian
A.01.19 - 17:30 HEAVY HEARTS, Josefine Pytlik
starting at A.01.19 - 18:00 The Body of Time, Zahra Ghadimian
A.01.19 - 20:30 FЯOM TOMOЯЯOW Noemi Calzavara
Public space intervention, starts at the academy entrance, at the bottom of the stairs
Sunday, 27.07.2025
- 14:30 & 15:00 this flag was eaten by (...), Carla Vollmers
metro station Universität - 17:00 drinking from someone's back, Lea Geerkens
Corridors 1.OG - 18:00 The Body of Time, Zahra Ghadimian
A.01.19 - 18:30 FЯOM TOMOЯЯOW, Noemi Calzavara
Public space intervention, starts at the academy entrance, at the bottom of the stairs - public rehearsals for a work in progress, Josefine Luka Simonsen
The rehearsals are only meant to be seen by chance
Monday, 28.07.2025
- public rehearsals for a work in progress, Josefine Luka Simonsen
The rehearsals are only meant to be seen by chance - Prayer Rug, Luka Toprak
spontaneus times throughout the exhibition, A.01.19
Tuesday, 29.07.2025
- 18:00 The Body of Time, Zahra Ghadimian
A.01.19 - Prayer Rug, Luka Toprak
spontaneus times throughout the exhibition, A.01.19
Wednesday, 30.07.2025
- 14:30 & 15:00 this flag was eaten by (...), Carla Vollmers
metro station Universität
Thursday, 31.07.2025
- 18:00 The Body of Time, Zahra Ghadimian
A.01.19 - public rehearsals for a work in progress, Josefine Luka Simonsen
the rehearsals are only meant to be seen by chance
Friday, 01.08.2025
- 16:30 & 17:00 this flag was eaten by (...), Carla Vollmers
metro station Universität - public rehearsals for a work in progress, Josefine Luka Simonsen
the rehearsals are only meant to be seen by chance
Saturday, 02.08.2025
- 14:30 & 15:00 this flag was eaten by (...), Carla Vollmers
metro station Universität - 17:30 HEAVY HEARTS, Josefine Pytlik
starting at A.01.19 - 18:00 The Body of Time, Zahra Ghadimian
A.01.19
Sunday, 03.08.2025
- 16:00 4.9-square-meter mat, Geumok Oh
Vestibül 1.OG - 18:00 The Body of Time, Zahra Ghadimian
A.01.19
What is lost and what endures, still
The end-of-year exhibition of the Performance class in 2025 displays works that engage various themes, developed by students according to individual interest; at the same time, in its general approach and format – also co-conceptualised by the students – it reflects on a particularly urgent topic: the ongoing retreat of public funding and of vital state support for education and culture understood as public goods, and the total takeoverby market-fundamentalist, for-profit models and modes of thinking about theses spheres. In response, the exhibition space itself shrinks: while part of it remains available for public access, part turns into an Airbnb-like rental (which can only be accessed when booked), while other works happen in public space.
The shift in the definition and roles of art and culture, from public goods to consumable commodities, from essential fields of knowledge production and education to “creative industries”, has a long history. Even if subject to debate and belonging to a particular moment in time, precisely in the land of Theodor Adorno and Max Horkheimer their early, 1944 analysis and critique of the process in “The Culture Industry: Enlightenment as Mass Deception” should still resonate today. And as they state, “the relentless unity of the culture industry bears witnesses to the emergent unity of politics”; indeed, as there seems to be no alternative to our prevailing doomsday political-economic system, so does cultural production, increasingly removed from government priorities, continues to be homogenized by the market.
The push for completing the neoliberal transformation of all cultural spaces and art institutions mirrored and mirrors the push for completing the neoliberal transformation of academia, even as it happens at various speeds and with different degrees of intensity.
Private patronage and private collecting have always been an important support for the arts, but having to rely exclusively on the private sphere, especially in the field of education, not only raises important questions about power and purpose but shifts those balances in irreversible ways. When public money and long-term, unconditional trust and time given to learning and experimentation are gone, not only is everyone forced to start thinking like a business, but business itself transforms into a short-term effort to sell a superficial product, a race for brief and unsustainable attention.
Nation-states reinvented for the age of global finance and the ongoing crises of capital accumulation seem only able to set destructive spending priorities that suck out the last remnants of public investment in the public good. In this general context, the current budget cuts (or the full disappearance of budgets) for institutions of higher education justified by a new economic-financial crisis come as no surprise. Nevertheless, besides trying to keep alive various individual interests, artworks conceived by the students also ask – either through themselves or through the frameworks in which they stage themselves – important questions about the present and the future: what happens with the exhibition space or the space for experimenting and learning when public funding retreats? What remains of the state, what empty rhetoric, empty symbols or gestures continue to linger on, even as it gives up its mandate to care for and support the wellbeing of all its citizens? How do we find support, what can we still share, what kind of dynamics emerge? Where and how can art remain preoccupied with the difficult, the subtle, the long-term, or at what cost? How does it endure, still?
Alexandra Pirici
Book your stay at the akabnb now!
Home at art
The spacious two-people apartment offers you a beautiful setting for Bavarian summer. Rest well in Munich’s artistic hotspot!
Where to find us
Old Building, Room A.01.19. Akademiestraße 2, 80799 München
Flexible day rental
From 26 July to 3 August
15 minutes to 8 hours
inspiring art
Four works by the artists: Nena Cermak, Noah Thalia Schoeller, Stephanie Rössing, Carla Vollmers.
