PhD Installation Series 12

Daniel Peltz blog

PHD INSTALLATION SERIES, PROJECT SPACE, STUDIO A, BARRIEDALE BUILDINGS, GOLDSMITHS, NEW CROSS

 

Installation 12:

Daniel Peltz

an accidental audience encounters an object of uncertain origin

with special guest interlocutor Janna Graham [Goldsmiths, Visual Cultures]

 

gallery visitation from 10-3pm

closed session 3-4pm

open session 4-6pm

 

how to make a claim for claimlessness

a work comes

of ten years of being

in this place

a strange sometimes home

that rejects us as often as we reject it

a glass factory town in rural Sweden that we accident-ed into

in the process, things are made and things are broke

things that might or might not heal on their own

or with help

things that might or might not be able to be reassembled

in some kind of time.

how to think a thing

in this place.

how to be thing,

in this place,

which is not-for-export.

 

Project Space, Studio A, Barriedale Buildings, Goldsmiths,

Thursday 4 May 2017, 5.00 pm to 6.00 pm.

 

 


PhD Installation Series 11

Irina Bucan blog

 

PHD INSTALLATION SERIES, PROJECT SPACE, STUDIO A, BARRIEDALE BUILDINGS, GOLDSMITHS, NEW CROSS

Installation 11:

Irina Bucan

Preview: In the transition zone the building will have a future, she said 

Guests:

Vlad Morariu 

Ovidiu Țichindeleanu

 “The reader might be shocked or at least surprised by the unpretentious titles of these avant-garde institutions. Right from their names, a subtext, a nuance of familiarity can be read, a certain dosage of property over these places of culture can be felt. Democratization of culture presupposes direct and wide access of the masses to culture without formalities or inhibitions.” (Casele de Cultura, Tia Serbanescu, Tribuna Romaniei, 15.01.77) 

 A pre-thought for a possible social imagination of Cultural Houses. 

Vlad Morariu is a researcher and curator based in London. He is educated in Philosophy and was awarded a PhD at Loughborough University with a thesis on the present conditions and possibilities of institutional critique. He is currently a Lecturer in Visual Cultures at Middlesex University.

Ovidiu Tichindeleanu, PhD in Philosophy (Binghamton University, State University of New York 2009). Philosopher and social theorist living in Chisinau, Moldova. Editor of IDEA magazine, and Collection Coordinator of IDEA Publishing House, Cluj, Romania. Co-founder of the independent platforms Indymedia Romania (2004), CriticAtac.ro (2010) and LeftEast International (2012). Member in the Board of Directors of El Taller International. From 2012 teaches at the Decolonial School of Roosevelt Institute, Middelburg, Netherlands.

 

 

Project Space, Studio A, Barriedale Buildings, Goldsmiths,

Thursday 18 May 2017, 5.00 pm to 7.00 pm.

 

 


PhD Installation Series 10

Sophie Sleigh-Johnson (blog)
PHD INSTALLATION SERIES, PROJECT SPACE, STUDIO A, BARRIEDALE BUILDINGS, GOLDSMITHS, NEW CROSS
 
Installation 10: 
 
Sophie Sleigh-Johnson presents
 
Procijep
 
Scenes from a mystery tableau of archaeopsychic speleology through the
chthonic in-tuning of the female. Manifesting invisible frequencies of Artemis’ blush,
it grapples with the excess of language in a voice glimpsed between
two worlds. In the heat of femininencryption is a silenced
condensation of psychic possession, the forest after the Bogomils.
 
The performance is followed by a live virtual discussion with philosopher 
Timothy Morton (Rita Shea Guffey Chair in English, Rice University), 
author of books including Dark Ecology, Hyperobjects and Realist Magic.
 
 
Project Space, Studio A, Barriedale Buildings, Goldsmiths, 
Thursday 4 May 2017, 5.00 pm to 6.00 pm.

Tigersprung 1936 . 1972

Tigersprung-1936-1972

 

Two dates: 1936 and 1972.

On the one hand, a time of emerging fascism and war. On the other, a time just after worldwide social conflicts culminated into the global protests of the late 1960’s.

Jumping between these two dates, how can we catch a glimpse of our contemporary moment?

. . . . . . . . . . . .

The next Goldsmiths Art Research Symposium is dedicated to these two dates – one day for each date. As artist researchers, we will read, experience, research, speak and dance 1936 and 1972. We will make history and, through this, we will think through its implications for now.

Date:               9 March (9:30am -6:30pm) – 10 March (9:30am – 11:00pm) 2017
Location:         Goldsmiths College, Laurie Grove Baths, Room G6 (unless otherwise noted)
 
Reserve tickets through Eventbrite. The event will conclude with raucous disco.
 
All are welcome!
 
Click here for a document containing further information, a schedule of events and embedded web links to background reading.

Potatoes & Stones: A Student-Led Art Research Symposium

Thursday, 24 – Friday, 25 November 2016

St James Hatcham Building (The Church), Goldsmiths
Number 41 on campus map:http://tinyurl.com/jpyctne

Potatoes & Stones is the first of two research symposia for 2016-17 organised and led by MPhil & PhD Researchers in the Department of Art at Goldsmiths College. Finding form through common research interests, this two-day programme of events mobilises thinking and practices around Maintenance, Care, Proximity, Potatoes and Stones. Here questions will be posed and shaped, methods presented and discussed, that situate these collective concerns within the wider context of art and practice research.

Schedule of Events

Day 1 : Thursday, 24 November 2016

THE SHAPE OF A QUESTION // Time: 10.00 – 13.00
Researchers, both on the programme and beyond, are invited to bring one question to the table. We will think carefully about the shape of the question and how it is posed. Will it be posed through speaking, writing, gesturing, moving image, sound?

MAINTENANCE / CARE // Time: 14.00 – 16.00
For this session, Dr. Susan Kelly, Professor Viviane Maximino and Teresa Calonje each give a talk related to artistic and research practices that develop strategies around maintenance and care. They will speak from their practices which propose passages between artistic practices, institutional analysis and health care; between desire, care, fetish and the sacred.

Curated by Cristina Thorstenberg Ribas.

Guests include Professor Viviane Maximino (Federal University of São Paulo and Goldsmiths), Dr. Susan Kelly (Goldsmiths) and Teresa Calonje (Goldsmiths).

(UN)WANTED PROXIMITY // Time: 17.00 – 20.00
(Un)Wanted Proximity is a marriage of words including multiform thoughts. This event will cover art and fiction, improvisation and text, sudden interruptions, the responsibility to respond, the face of the Other in interpersonal contact, likeness, the weight of the outside world or research, obligatory psychoses, among other ideas. The abstract suggestion of the title, nearly an oxymoron, allows for the creation of unprecedented affiliations among subjects. It aims at enacting thinking across categories.

A new project by writer and curator Giulia Damiani and curator Barbara Mahlknecht.

Invited Speakers: Helena Rice, Dr Nicky Coutts, others tbc.

Day 2 : Friday, 25 November 2016

A STARCHY, TUBEROUS CROP FROM THE PERENNIAL NIGHTSHADE
Practice Research in Practice
// Time: 10.00 – 13.00
Here we invite guests to articulate, through their work, a relation to the notion of ‘practice research’. In doing so, we seek to arrive at a more general understanding of ‘practice research’ through the particular practices of artist researchers – a movement from specific to type.

Guests include Daniel Peltz (Goldsmiths), Dr. Edgar Schmitz (Goldsmiths) and Dr. Nina Wakeford (Goldsmiths)

SPEAKING THROUGH STONES // Time: 14.00 – 17.00
This practice-led session takes the figure of the stone as starting point to open out discussion on (dis)embodied speech, its excesses and extravages.

Artists Katharine Fry, Sigrid Holmwood, Åsa Sonjasdotter, Kate Pickering, and Sophie Sleigh-Johnson present five new works across video, text, sound and painting. Taking the séance as both a structure for the panel and a form of communal channelling, the séance evokes the invisible, specifically states of haunting and inertia, through the body and stones. Varying disembodied voices and breaths are heard and not heard, fused and doubled, flickering between the simulacra and the real.

Curated by Sophie Sleigh-Johnson, Sigrid Holmwood, Kate Pickering, Katharine Fry & Åsa Sonjasdotter.

Guests include Josh Cohen (Goldsmiths), Tristam Adams (Goldsmiths Visual Cultures research student), and Katrina Palmer (Ruskin School of Art).

Goldsmiths, St James,
New Cross, London,
SE14 6NW


Animate Assembly Series #5: Jalal Toufic: “Dance”

6 October, 17:00-19:00,

Studio A, Barriedale Building, Goldsmiths

Dance, which, in the realm of altered body, silence, and movement into which it projects a subtle version of the dancer, makes possible immobilization, the genetic element of motion, allows all sorts of extraordinary movements, including an auto-mobility of the inanimate. The first couple of times when its winding mechanism came to a stop, the doll became again motionless; the third time the winding mechanism came to a stop, its faint sound no longer audible, the doll continued to move, having acceded to the auto-mobility allowed by dance in the realm of altered body, silence, and movement in which it projects a subtle version of the dancer. When the mechanical doll attains the state of dance, a cessation of its movement would be due to its becoming frozen in dance’s realm of altered body, movement, silence, and music. The notion of rewinding the doll’s mechanism occurred to its erstwhile master, but, being himself a dancer, he dismissed it—he must have sensed that he would not be able to do so since the doll was then frozen still, thus withheld from time, with the consequence that the action of rewinding it, one that takes place in time or is a form of time, could not be effectuated until the doll was no longer frozen but subject to time again. The doll resumed its movement on its own once the silence-over had receded.

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. His books, many of which were published by Forthcoming Books, are available for download as PDF files at his website: http://www.jalaltoufic.com. He was a participant in the Sharjah Biennials 6, 10 and 11, the 9th Shanghai Biennale, Documenta 13, the 3rd Athens Biennale, and “A History: Art, Architecture, and Design, from the 1980s Until Today” (Centre Pompidou). In 2011, he was a guest of the Artists-in-Berlin Program of the DAAD; and in 2013–2014, he and Anton Vidokle led Ashkal Alwan’s third edition of Home Workspace Program, based in Beirut. He assumed the position of Director of the School of Visual Arts at the Lebanese Academy of Fine Arts (ALBA) in September 2015.

The Animate Assembly network understands animation as a discrete set of experiential and technological possibilities, on the one hand, and as a generalised politico-economic set of conditions on the other. Drawing on the crossovers and proliferations afforded by this doubling, the Animate Assembly network aims to debate the currency and significance of analogue and digital animation studies in view of the fundamental transformations occurring in cultural knowledge. Animate Assembly is propelled by Verina Gfader (Aarhus), Esther Leslie (Birkbeck), Edgar Schmitz (Goldsmiths) and Aylish Wood (Kent).

The assembly is funded by the Research Programme, Department of Art, Goldsmiths.


Research Presentations

PhD Research Presentations

Barriedale Building, Studio A, Main Seminar Space

Thursday, 29th September – Friday 30th September

We will be hosting a drinks reception for all researchers to conclude the presentations. All are welcome! Please feel free to invite guests …

10.00-10.20

WELCOME/INTRODUCTION

10.20-10.40

Roman Vasseur The Materialism of the Apparatus – Truffaut’s Vase

10.40-11.00

Asa Sonjasdotter On Plant Memory

11.00-11.20

Ramon Bloomberg The Speculative Origins of the Term Drone as a Metaphoric Description for a Technical Object

11.20-11.40

Katharine Fry House Arrest

11.40-12.00

BREAK/DISCUSSION

12.00-12.20

Millie Brown How Class Became Bourgeois in Contemporary British Art Practice: Art Informed by Lived Experience

12.20-12.40

Irina Botea Camin Cultural: Between Political Programme and Cultural Appropriation from 1955 to the Present Day

12.40-13.00

Sigrid Hollywood Nelly and Ishi: Living in the Museum

13.00-14.00

LUNCH

14.00-14.20

Anna Gonzalez Suero Baudrillard’s Mother

14.20-14.40

Rose Jejeune From Hayward to Home – Florence Peake at Gallery Lejeune

14.40-15.00

Giulia Damiani To change one’s skin. On Feminist and Artistic Transits

15.00-15.20

Cristina Thorstenberg Ribas Research Processes, Knowledge Production and Processual Creativity: Schizoanalytic Cartographies in Brazil

15.20-15.40

Kate Pickering Bowels of Steel

15.40-16.00

Scott Raby The Contract Is the Ultimate Legal Mechanism for Defining Relations Within a Capitalist Society

16.00-16.20

Sophie Sleigh-Johnson Slip Into Stone: Performing the Disruption

16.20-16.40

BREAK/DISCUSSION

16.40-17.00

Daniel Peltz An Accidental Audience Encounters an Object of Uncertain Origin

17.00-17.20

Kristien Van Den Brande The Undercommons as Chance Support

17.20-17.40

Barbara Mahlknecht How Do you Keep Going? Social Re/Production, Feminism and Curatorial Politics

17.40-18.00

Teresa Calonje Ownership and Dispossession


Animate Assembly 3: WJT Mitchell: ‘Method, Madness, and Montage’

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10 June 2016

RHB 256 6-8pm

“Method, Madness, and Montage”

Images not only exist within environments such as museums, books, monitors, and commercial displays. They also become environments in their own right, forming a spectacular surround of pictures, texts, and screens that constitutes a world of image operations, a kind of “iconoscape” in which many images may be viewed simultaneously. As “working environments” they range from Aby Warburg’s Bilderatlas to Andre Malraux’s Musee Imaginaire to military situation rooms and forensic wall displays in police and spy dramas. Verging on a kind of iconomania, the “wall of images” is a form of method-driven montage that flirts with madness. Examples from art history, cinema, and forensic science will be discussed.


PHD INSTALLATION SERIES: INSTALLATION 7: ANNA GONZALEZ SUERO: THE FETUS PHALLUS STUDIO

IMG_3924_6
INSTALLATION 7:

ANNA GONZALEZ SUERO:

THE FETUS PHALLUS STUDIO

4–8 May, Studio A, Barriedale Buildings, Goldsmiths

by appointment with agonz013@gold.a.cuk

Preview 3 May, 5:30-8pm

The Fetus Phallus Studio will put some of its old specimens on display. Feminist research shows that there is no ahistorical fetus and begins with the fact that fetuses are cultural, social, political, and legal artifacts. There are multiple and competing fetuses: fetuses are artifacts.

Anna began her practice-based PhD in the Art Department at Goldsmiths in September 2015. Anna has expressed her ideas through many mediums, including collage, video, photography, performance, and writing. She studied Fine Art at Cooper Union in New York and received a BFA in Audiovisual Art from Gerrit Rietveld Academy in Amsterdam. Anna has worked in clinical practice and organized artistic projects at hospitals across Germany. She has participated in artist residencies and exhibitions worldwide. Currently living and working in Cologne, Germany.

annagonzalezsuero.com

notmyscan.com

 

caption: The Fetus Phallus Studio by Anna Gonzalez Suero


Reading the Word, Reading the World. On Display: The Aesthetics of Resistance*

E-Mail invite

Research Symposium, Birkbeck/Goldsmiths’ Art Department, University of London and The Field, New Cross.

Reading the World, Reading the World. On Display: The Aesthetics of Resistance*

 25th – 27th April 2016

Research Symposium organized by Claudia Firth (Cultural and Critical Studies, Birkbeck) and Achim Lengerer (Art Depart­ment, Goldsmiths) in collaboration with Kristien Van den Brande (Art Department, Goldsmiths), Cristina Ribas (Art Department, Goldsmiths) and Vera Weghmann (Centre for the Study of Social and Global Justice, Nottingham University).

The events will take place at both Goldsmiths’ Art Department and Birkbeck, with an informal workshop session to be hosted at The Field, an alternative community space in New Cross.

Taking Peter Weiss’ historical novel The Aesthetics of Resistance as a loose starting point, the symposium will take a sideways glance at questions of how we might ‘read’ leftist historical narratives. While deferring an interrogation of the term resistance to a later point in time (and a further symposium in October at Birkbeck), we will follow a thread of collective learning and sharing knowledge and ask how subjectivity and politics might intersect through the process of ‘reading’ together. One of our questions will be: how are these processes of collective ‘reading‘ organised and what can we draw from this collective experience for a contemporary artistic-activist praxis.

Events will include: debates on the crossovers between work; education and workers’ education from a historical and a contemporary perspective; the reading group as cultural, social and historical form in relation to The Aesthetics of Resistance; the historical essay as exhibition and films by Peter Weiss; reading groups as a practice outside or at the margins of institutions; the interrelations between collective reading and political praxis.

Monday 25th April

Birkbeck Evening Event

7 pm – 9 pm

Keynes Library, 43 Gordon Sq.

An evening panel on the changing nature of work, education and workers’ education. The shift to Post Fordist modes of production and cultural and immaterial labour have changed our relationship to knowledge and how it is produced as well as changing the nature of work itself. With the increasing presence of work in education (for example through ‘employability’ training and work placements) it seems pertinent to ask questions regarding the relationship between work and education and the organisation of higher education itself. How have these relationships changed?  Are there models from the past that could be mobilised now? What might alternative models of organization have to offer? Birkbeck College itself comes from a history of Mechanics Institutes in the UK originally formed in the 19th century to provide adult education to working people and seems the perfect setting in which to ask some of these questions.

Round table with Claudia Firth and Vera Weghmann and guests:

Stevphen Shukaitis, lecturer at Essex University. His work includes writings on Autonomia, self-organisation, class (re)composition and cultural labour.

Mike Neary from the Social Science Centre, Lincoln, who currently provide free co-operative higher education. The SSC is run as a not-for-profit co-operative, and organised on the basis of democratic, non-hierarchical principles.

Richard Clarke, until 2012, was Senior Lecturer in Conservation at Birkbeck College and Director of the University of London Centre for European Protected Area Research.

Tuesday 26th April

Goldsmiths Day Session

10 am – 6 pm

Seminar room, Studio A, Barriedale Buildings, Goldsmiths, New Cross, London SE 14 6NW

10 am Claudia Firth and Achim Lengerer. In Collective Reading as Political Act? Firth and Lengerer will introduce their shared research of various Aesthetics of Resistance reading groups in East and West Germany during the 1970s/1980s. They will explore the reading group as a social, cultural and semi-public form, what it means to read and learn collectively and what this might mean for critical knowledge production and subjectivity.

11:30 am – 1 pm Carles Guerra. 1979: a Monument to Radical Instants is the title of an exhibition Guerra curated in Barcelona in 2011 inspired by The Aesthetics of Resistance and Foucault’s lectures on biopolitics. The exhibition was conceived as a kind of historical essay that operated through image and object to organise the temporal moment as monument. Choosing 1979, Guerra focussed the exhibition on a pivotal year for Spain and one that could be characterised as epitomising the birth of neoliberalism.

2 – 4 pm Open conversation with protagonists of different reading groups: the New Cross Commoners, The Litany Reading Group (Nicola Guy, Katherine Jackson, Louisa Lee, Sophie Risner and Amy Tobin), and Katie Hare and Andrea Williamson, who are part of a group of 12 MFA candidates at Goldsmiths that are meeting on the self-selected theme of love and politics. These three self-organised reading groups will share their experiences as groups that have read together and reflect on the interrelations between reading and their particular social and political practices. The session is co-hosted by Kristien Van den Brande whose experience with reading groups range from memorising books by heart, durational collective readings and self-organised recurrent reading sessions in and outside of academia.

4 – 6 pm Screening and lecture by Florian Wüst. This thinking in oppositions: Peter Weiss and the political self of the artist. Looking at the period in which Peter Weiss shifted from film to theatre in the early 1960s, Florian Wüst elaborates on Weiss’s growing efforts to examine the social, political and economic realities surrounding him. How to learn from the follies of history through art? How to activate societal change without dismissing intellectual critique and freedom? The screening will be followed by a conversation with Edgar Schmitz (Art,Goldsmiths).

Wednesday 27th April

‘Reading Group’ Afternoon Session

Starts 1 pm

The Field, 385 Queen’s Rd, New Cross

This will be a practical workshop session in which participants are asked to bring fragments from their experiences of the previous two days’ events. These could be words, things, dates, feelings or anything they might have taken away with them. Together, we will ‘read’ these fragments using a variety of methods and perspectives. Starting with discursive modes towards more affective registers to include the body, voice, rhythms and dynamics. This will be in collaboration with Cristina Ribas who proposes the title Protocol to intersect vocabularies for her intervention. The symposium finishes with an invitation to join us and the New Cross Commoners at the People’s Kitchen at the Field for a communal meal.

 

Contacts: Achim Lengerer: lfp.lengerer at gmail.com, Claudia Firth: claudiaf at talktalk.net

* The title refers to Paulo Freire as well as to Harun Farocki’s film On Display: Peter Weiss (Zur Ansicht: Peter Weiss), 1981. The image on the poster collages a subtitle as well as fragments of a still image from Farocki’s film.

http://art.gold.ac.uk/research/

https://www.facebook.com/events/548618651966275/

https://www.eventbrite.co.uk/e/reading-the-word-reading-the-world-on-display-the-aesthetics-of-resistance-tickets-24682615367