Markus ambach biography templates

In museucampus, Markus Ambach explores some of the key themes of his work, namely the reinterpretation of places and the appropriation of public spaces. At the same time, he proposes a critical reading of the contextual specificity of MNAC – Museu do Chiado.

As a result, his project develops between a general reflection on the instances of artistic production and recognition and an attentive look at the relationship between the museum and its immediate surroundings, with special focus on the museum’s connection with the Faculty of Fine-Arts.

Since its foundation in 1911, the museum and the faculty have occupied adjacent areas in the old convent of São Francisco da Cidade, where the National Academy of Fine Arts is also located.

Despite the obvious affinities between them, cohabitation was never easy and although at an early stage the two institutions were close, both in terms of their location and their programming, from the 1940s onwards MNAC sought to assert its autonomy from th

This CD is a recording of a live-concert by "a certain frank" in July 2004 in the wildlife-park. This first Live-CD of "a certain frank" in almost complete concert-length is a supplement for the book documentation of "Markus Ambach's" garden architecture project "wildlife".
This special edition in the original bio-Jewelcase with a leaf and a small log of wood is limited and is available, handpacked by the musicians, only in this webshop.
Much fun with the summer chill of this relaxed concert, which reflects Frank Fenstermachers Percussion in cooperation with the live-sampling and electronics by Pyrolator and opens up an acoustic-electronic dialogue.

The event was a collaboration between Atelier Oerol, DasArts, the Art Practice and Development research group, the Production and Stage Management course, Gwenoële Trapman and Rachel Feuchtwang. SITE, LANDSCAPE, THEATRE was curated by Marijke Hoogenboom and Judith Wendel. Drawn from very different artistic fields and roles within the cultural sector, the meeting brought together a diverse group of international guest artists and speakers.

SITE, LANDSCAPE, THEATRE forms part of de Theaterschool’s research into contemporary artistic practices and creative producing in education, particularly Master’s courses. The school’s ambition is to identify pressing issues and concerns and share them with colleagues working in the field. The hope is that this will challenge everyone to collaborate more closely with each other, and help to bridge the gaps between departments, disciplines, BA’s, MA’s and generations.

Several questions recurred during the meeting: what is at stake out there, in the public sphere? Which practices are claiming the streets, landscapes and the theatres that have always functioned as a space for public life? How does the interaction between theatre, location and communities work?

The meeting was divided into two themes: MAKING PLACES and READING LANDSCAPES. Each theme led to very different contexts within practice. The meeting wasn’t organised in order to present what is already known. On the contrary, it was born out of curiosity and a sense of trust that, although the questions might get even more complicated, the presence of our guests would also enrich, and maybe even help solve, them.

The Chocolate Factory
Brian Rogers and Sheila Lewandowski own The Chocolate Factory, an industrial space in Long Island City, Queens (USA) in which they create their experimental performances. Within just a few years, The Chocolate Factory has developed into a community where Rogers and Lewandowski enable a dialogue and collaboration between makers and ar