Jens Badura

Austria, Germany (residence), Austria (citizenship) °1972
research interests: culture and aesthetics, creative economies
affiliation: Berlin University of the Arts

Jens Badura (Prof. Dr.) is Co-Head of the Graduate School "Culture of the Alps" at Lucerne University and a Guest Professor at Berlin University of the Arts. He is also "Associated Researcher ZHdK" and PhD Supervisor at Zurich University of the Arts (Institute for Performing Arts and Film and Institute for Computer Music and Sound Technology (ICST).
His work focusses on applied aesthetics and cultural philosophy. Current projects deal with the question of what contributions artistic ways of thinking and acting can make outside the art world, especially in the field of socio-ecological transformation processes. In this context, he also deals with the role of art academies as spaces for the promotion of an entanglement of different knowledge cultures and transformation-catalysts of epistemic relevance regimes in the socio-political discourse context.

He studied philosophy, biology, history and political science in Constance, Innsbruck and Tübingen as well as cultural management in Vienna and was a post-doc at the Max Weber College for Social and Cultural Sciences at the University of Erfurt, at the International Centre for Culture and Technology Research (IZKT, Stuttgart) and at the École des Hautes Études en Sciences Sociales (EHESS, Paris). In 2006, he completed his habilitation at the University of Paris 8 (Vincennes-Saint-Denis).
From 2011-2014, he headed the research focus "Performative Practice" at the Institute for the Performing Arts and Film (IPF) at ZHdK, after which he was appointed there to the lectureship "Aesthetic Theory Practice" in the MA Fine Arts. From 2022 to 2014 he was Senior Scientist at University yof Applied Arts Vienna. He has also taught at various universities in France, Germany, Austria and Switzerland.


research expositions (collaborated)

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Exposition: 10 Diary Entries [2010-12] (01/01/2013) by Simon Granell
Jens Badura 18/06/2013 at 23:04

The exposition deals with the self-investigation of the sources that impacts on the creative process of the artist: through the exploration of his diary (that is supposed to represent a certain state of attention and status quo in the artistic process) selected diary-entries are connected to a complex system of inspiring sources – not only to realize an autobiographical research on the proper reference system but also as a strategy to question the problematic assumptions of the current debate on intellectual property through the exploration of the personal situation as a creator.


The approach could be understood as a concrete artistic proposition to take some claims of transtextuality for serious, to challenge it aesthetically and to interpret the own work as reflection of a complex cultural „atmosphere“ – through a combination of autobiographical self-investigation with a critical statement on the contemporary discussion on authorship etc.


More difficult is the concept of the exposition itself since it remains rather schematic and repetitive. Although the diary-model requires per se a certain repetitive structure, one could a imagine a more subtle and complex way to present the network of (contingent) thought- and creativity constitutive influences: this could be done for example through another layer of connection between the cited sources and, mainly also on a visual level that would allow to experience the dynamics of interference between the textual level and the artistic work.


Furthermore the exhibition might include other forms of articulation and investigation than only the word-by-word-connection between the diary entries and the sources. One could imagine a kind of “opening” of the related sourced towards a certain symbolic/aesthetic universe that offers new paths to investigate the author’s phantasmatic playground. This also could help to situate a bit more precisely the references given: by doing so the diary entries would be the “door” into an imaginary space that is not only indicated formally but becomes aesthetically accessible to the visitor.