On Display: The Aesthetics of Resistance


An evening on reading Peter Weiss

Date: Tuesday 10th November 7pm-9pm
Place: Professor Stuart Hall Building LG2
Goldsmiths, University of London

Screening of Harun Farocki’s film “On Display: Peter Weiss/Zur Ansicht: Peter Weiss”. Readings from “The Aesthetics of Resistance” and letters between Farocki and Weiss.

Special guest artist Karen Mirza who set up a London based reading group in 2010 and Edgar Schmitz (Department of Art, Goldsmiths).

Please join us for an evening on Peter Weiss’ seminal novel “The Aesthetics of Resistance” hosted by Claudia Firth (Birkbeck) and Achim Lengerer (Goldsmiths) who are currently researching Peter Weiss reading groups in East – and West Germany during the 1970s/1980s. They want to consider the collective process of reading Weiss within general questions of (workers) education and self-organised learning outside of institutional frameworks. The evening will include the first UK screening (English subtitles) of Harun Farocki’s 1981 film “On Display: Peter Weiss (Zur Ansicht: Peter Weiss)”. Farocki’s film is an interview with Weiss about the writing process of “The Aesthetics of Resistance” (1975-1981), an anti-fascist historical novel that follows a small group of young working class students as they visit museums, discuss art and political history and fight in the Spanish Civil War and the resistance to Nazism. The main premise of the book is that through self-learning the affinity between political resistance and art might be explored. The book itself also presents an opportunity for self-organized learning and has engendered a plethora of reading groups organized around it.

Special thanks to Antje Ehmann for the screening rights of Harun Farocki’s film.

Peter Weiss (1916 – 1982) was a German writer and experimental filmmaker of adopted Swedish nationality. He is particularly known for his plays Marat/Sade and The Investigation and his novel The Aesthetics of Resistance.

Harun Farocki ( 1944 – 2014) was a German filmmaker, author and lecturer in film. From the 1960s onwards, Farocki brought Weiss’ filmic work to public attention in Germany. He is also the author of an edition of the German magazine “Filmkritik” in 1981, devoted to Weiss’ films.

Karen Mirza has col­la­bo­ra­ted with Brad But­ler since 1998, and in 2004 for­med no. w. here (www. no-w-here. org. uk), an ar­tist-run space for the pro­duc­tion, dis­cus­sion and dis­se­mi­na­ti­on of prac­tices en­ga­ged with the mo­ving image, po­li­tics, tech­no­lo­gy and aes­t­he­tics. no. w. here’s role as a co­ope­ra­ti­ve en­vi­ron­ment is di­rect­ly re­la­ted to the cen­te­ring of Mirza and But­ler’s own prac­tice upon col­la­bo­ra­ti­on, dia­lo­gue and the so­ci­al. Since 2007 they have pur­sued a strain of prac­tice en­t­it­led The Mu­se­um of Non Par­ti­ci­pa­ti­on (www.museumofnonparticipation.org).

Installations: Series 1

Summer 2015 : Download Programme



Opening Thursday 7 May, 6-8pm, Studio A

We Knew The World Would Not Be The Same. A Few People Laughed, A Few People Cried, Most People Were Silent.

Tue 5 May – Fri 8 May.

The title of the installation is taken from Robert Oppenheimer’s post-war recollection of the first atomic blast at Alamogordo in the spring of 1945. A confrontation of the scientist’s testimony, a 700kg multi chamber crystal geode and stories of the last days of death row inmates is intended to tackle notions of change, time and contingency. The installation (especially the geode) is to be touched, heard and sensed.



Daily performances at 6:30 and 8:00pm, Studio A

Acts IX – V.

Mon 11 May – Fri 15 May.

Act IX – Owed to (C)ode

Act VIII – Sight Reading (featuring Benji Jeffery, Lucy Warren, Mel Powell and Rose Dagul) Act VII – Owed to the Uncanny

Act VI – Screening

Act V – Finale



Opening Thursday, May 21, 12-6pm & 7-9pm, Studio A

Flatness Conversations With Artists On Sound And Affect In The Visual Arts

Mon 18 May – Fri 22 May

I have invited the following artists to spend the day in the space with me opening out our on-going conversations and overlapping research to the visiting audience. A durational experi-ment rather than a purely visible one, instead of a site-specific display or timed performance, ideas and practices will be rehearsed, tweaked and added to over the course of each day.

Thursday 12-6pm & 7-9pm – Jason Dungan

Friday 12-6pm – Tom Richards and the Daphne Oram archive



Opening Thursday 28 May, 6-8 pm, Studio A

The Neighbourhood Academy Prinzessinnengarten Visits London.

Detailed timing tbc.

During the summer of 2015 the newly established Neighbourhood Academy Prinzessinnengarten will host a discursive program with base in Berlin, Germany. The program will look into questions of connectedness and of urban and rural politics on land, water and neighborhoods. From May 26 to 29 the Open Knowledge Network will host a workshop in London. More details on both the Berlin and London programs will be announced by April 30 on http://prinzessinnengarten.net.

The Open Knowledge Network 2015 summer program will host workshops, walks and talks with visiting guests such as architect and artist Marjetica Potrč and her class ‘Design for the Living World’, Hochschule für Bildende Künste Hamburg; lawyer Paula Z. Segal, 596acres, New York; artists Bonnie Fortune and Brett Bloom, Copenhagen / Chicago, and architect Mathias Hayden, Berlin.



Opening Thursday 4 June, 6-8pm, Studio A

Latest Research Findings And Progress Report From The Peasant-painter’s Garden.

Tuesday 2 June – Friday 5 June.

This Project centres on the development of a pigment garden for Peasant Painting on an abandoned water catchment system in the arid mountains of the Sierra María Los Vélez, in Andalusia. The demands of painting structures the task, while the research process reconfigures the painting. The question of what painting is expands through its material networks. This dialogic materialism follows lines of colonisation, invasion and co-habitation, on the part of humans, insects, plants and earths. The figure of the peasant is central as she who must be excluded in order to construct modernity and as the stubborn persistence of the non-modern.

During this week I will be presenting paintings along with video and performance. With painting as the start and end point, I will be operating through discordant modes of knowledge, from analytical chemistry, Meso-american códices, through to BBC documentaries and clowning.

I will be working with a clown from Sweden, David ‘Tito’ Carmel, culminating in a performance on Thursday evening. The installation of paintings and videos will be open to the public during the week.



Opening Thursday 11 June, 6-8pm, Studio A


Wed 10 June – Sunday 14 June.

The event in time, video experiments 1-x. Achronological refuge, prototype 2.

Feminist Duration in Art and Curating

Research Symposium, Goldsmiths, Department of Art
Monday 16th & Tuesday 17th March, 2015

Feminist duration in art and curating symposium

Venue: RHB 325 & 326, Goldsmiths, University of London
# 25 on the Campus Map: http://www.gold.ac.uk/media/campus-map.pdf
Take staircase B up 2 flights of stairs

Free and Open to All. If you could like to come please email to reserve a seat as places are limited: h.reckitt@gold.ac.uk

Presenters include visiting artists and researchers and a range of lecturers, PhD Art and MFA Curating students at Goldsmiths, University of London

Nella Aarne, Lisa Busby, Kajsa Dahlberg, Giulia Damiani, Claire Fontaine, Dimitra Gkitsa, Melissa Gordon, Catherine Grant, Laura Guy, Shama Khanna, Nina Power, Helena Reckitt, Cristina Thorstenberg Ribas, Emily Rosamond, Louise Shelley, Amy Tobin, Rehana Zaman

Monday March 16th
10am -10.30am Introduction, Andrea Phillips and Helena Reckitt
10.30am – 11.30am Catherine Grant, A Time of One’s Own
11.30am – 1pm Rehana Zaman, Screening of Some Women, Some Other Women and all the Bittermen, 2015
Louise Shelley, Communal Knowledge – is this working?
Lisa Busy: Introduction to Sound Piece
1pm – 2pm Break
2pm – 3pm Melissa Gordon, Exits and Dropouts (title tbc)
Giulia Damiani, Le Nemesiache from Napoli: Amplifying Women’s History
3pm – 3.30pm Break
3.30pm – 4.30pm Cristina Thorstenberg Ribas, Do I have to be a Mother to Discuss Social Reproduction from a Feminist Perspective?
Emily Rosamond (title tbc)
4.30pm – 5pm Break
5pm Claire Fontaine, And they ask for her help more than they are ready to help her, response by Nina Power [in the Stuart Hall Building]

Tuesday March 17th
10am – 11am Helena Reckitt, Support Acts
11am – 12.30pm Laura Guy and Kajsa Dahlberg, I Want a President
12.30pm – 1.30pm Break
1.30pm – 2.30pm Shama Khanna, Flatness: Refusal. Screening with works by Helen Chadwick, Domestic Sanitation: Bargain Bed Bonanza, 1976; Lucy Clout, Shrugging Offing, 2013; Barry Doupé, Life and People, 2014; Bonnie Camplin, My Name is Ko Ko, 2001
2.30pm – 3pm Amy Tobin, Youth, family and home: thinking with and against second wave feminist art
3pm – 3.30pm Break
3.30pm – 4.30pm Dimitra Gkitsa, Where Have All the Cyborgs Gone?
Nella Aarne, Encounters in the Dynamic of Love: Notes on ‘Feminine Curating’
4.30pm – 5pm Open Discussion


Art & Curating PhD Research symposium

12/13 February 2015
Goldsmiths, Barriedale Building, Studio A and other venues

Over the last decade and coming out of very differe nt genealogies, planetarity has projected a renewed sense of orientation onto practices of the anthropocene. This ranges from the invocation of planetary boundaries as corrective against the unsustainable depletion of resources, and the insistence on holistic and/or ecological models as paradigmatic for practice at large, through to a re-thinking of the currency of partial and local perspectives in view of such scaled-up distributions. Geological an d historical parameters are entangled here with registers of urgency for the now and its anticipated futures, and have come to suggest a new referential matrix for current cultural and artistic practice in the process. This 2-day symposium will test planetarity as a new horizon on one hand, and as opening (onto) a new set of hyper-connected perspectives on the other. Drawing on knowledge formations from ecological history and materialist economic critique through to post-colonial narratives, contributions from a range of artistic and discursive practices will inhabit the multiple terrains opened up by the planetary turn.

Led by Ros Gray and Edgar Schmitz with contribution s from Kathrin Boehm (UK), Sean Cubitt (UK), Elizabeth DeLoughrey (US), Kodwo Eshun (UK), Fernando Garcia-Dory (ES), Sigrid Holmwood (UK), Miranda Pope (UK), Asa Sonjas
dotter and Tahani Nadim (DE/UK), Nicola Triscott (UK).

G C Spivak, ‘Planetarity’, in Death of a Discipline (2003), pp71-102

D Chakrabarty, ‘The Climate of History: Four Theses’, in Critical Enquiry 35 (Winter 2009)

J Rockström, W Steffen et al, ‘Planetary boundaries: exploring the safe operating space for humanity’, in Ecology and Society 14 (2): 32, 2009 [online] URL: http://www.ecologyandsociety.org/vol14/iss2/art32/

Thursday 12 February
11:00 – 13:00, Studio A
Ros Gray,Edgar Schmitz: WHAT IS IN A TERM? Preliminary material toward an over-determined glossary

14:00 – 16:30, Studio A
Kathrin Böhm,Fernando Garcia-Dory, Miranda Pope (chair), Nicola Triscott: RESCALING REALITIES
This panel will discuss what it means to deconstruct and alter connectivities between specific living and working situations and their settings – both urban and non-urban – through critical artistic and curatorial practices. The term rescaling here refers to processes of unpacking the complex relationalities between communities and their immediate and related environments, taking in historical and sociopolitical conditions, in order to enable structural shifts to take place. A setting is taken to be a fluid, historically and politically differentiated site of activity,rather than a contained space. The session seeks to ask what can critical practices contribute to a rethinking, reformulating or restructuring of such assemblages, and how do their operating conditions support or inhibit their aims? How these practices might connect with similar remote practices – i.e. how can we think through realities being rescaled in planetary terms? And what does it mean to do this within the context of a critical artistic practice?

Kathrin Böhm is an artist and founding member of the London based art and architecture collective public works, and the pan-European artist initiative Myvillages. Her projects are produced collaboratively and within the public realm. Current and recent projects include the “International Village Shop” (2005 – ongoing), the second round of the “Eco Nomadic School”, “Trade Show” at Eastside Projects in Birmingham (co-curated with Gavin Wade), “Good News From Nowhere” an exhibition and events programme at The Architecture Foundation in London. Most recently Myvillages has won the 2014 Create Art Award for their east London based “Company: Movements, Deals and Drinks” project, and Myvillages’ two year long “International Village Show” opens at the Museum of Contemporary Art in Leipzig in Feb 2015.

Fernando García-Dory‘s work engages specifically with issues affecting the relation between culture-nature now, embodied within the contexts of landscape, the rural, desires and expectations related with identity aspects, crisis, utopy and social change. He studied Fine Arts and Rural Sociology in Madrid and Amsterdam, and now preparing his PhD on Agroecology. Interested in the harmonic complexity of biological forms and processes, his work addresses connections and cooperation, from microorganisms to social systems, and from traditional art languages such as drawing to collaborative agroecological projects, actions, and cooperatives.

Nicola Triscott is a cultural producer and writer, specializing in the intersections between art, science, technology and society. She is the founder and Director of The Arts Catalyst, one of the UK’s most distinctive arts organisations, distinguished by ambitious artists’ commissions that engage with science, including notable projects by Tomas Saraceno, Ashok Sukumaran, Aleksandra Mir, The Otolith Group and Critical Art Ensemble, and the international dimension of its programme of exhibitions, events, research and publications. Nicola has curated many exhibitions and events for The Arts Catalyst. She lectures and publishes internationally, including books on art and technology in the Arctic , art and space, and ecological art. She blogs at www.nicolatriscott.org.

Miranda Pope is a writer, curator and researcher in the Departm ent of Art at Goldsmiths. She is developing a notion of the ecological that is understood as an on-going process of thinking and doing that exposes and questions interests of all entities within assemblages, along with the intertwined politics of doing this, and exploring the possibilities for new curatorial forms to emerge out of it.

17:00 – 19:00, PSH, LG02

(Visual Cultures Lecture Series 2015: Critical Environments, chaired by Lynn Turner and
Wood Roberdeau)

Friday 13 February
10:00 – 11:00, Studio A
Sigrid Holmwood: QUESTIONING THE NATIVE/ NON NATIVE: A Planetary Journey Through Dye Plants

Sigrid Holmwood will present an account of the process of the selection of dye plants for a pigment garden in Andalucia, following lines of colonialism and indigeneity in human/ plant interactions. Sigrid Holmwood is a current PhD student in the Department of Art.

11:00 – 11:30 BREAK
11:30 – 13:00, Studio A

Asa Sonjasdotter and Tahani Nadim(skype), DEAD WASPS FLY FURTHER

Sociologist of science Tahani Nadim and visual artist Åsa Sonjasdotter on their coming exhibition at the Natural History Museum in Berlin, 3-29 March 2015. The exhibition will present three protagonists from the museum’s collections and their factual and imagined journeys and impulses. Because behind their apparent stillness lie moving stories and relations that can shift our understanding of nature and our conduct toward the world. The trajectories of the protagonists are reconstructed through three different interventions, which afford an insight into the lively traffic between spaces, times and orders.

Tahani Nadin is a sociologist of science. Her work explores co-constitutive exchanges
between knowledges and natures.

Åsa Sonjasdotter is a visual artist. Her work engages in vegetables and the way they evolve through interspecies dialogue between humans and plants. Asa is a current PhD student in the Department of Art.

13:00 – 14:00 BREAK
14:00 – 15:15, Studio A

Sean Cubitt: FAR HORIZONS – SEMI-CONDUCTORS: The ecological impact of chip fabrication – a case study in globalisation as the degradation of human and physical environments.

The talk focuses on the environmental impacts of digital media – through a case study of chip fabrication – on human and non-human systems to give a concrete account of how material flows integrate productive and consumptive cycles at a planetary scale. It argues when the new international division of labor migrated the old industrial proletariat to the global South, in the north it divided a middle-class of cognitive labourers from a new proletariat whose economic task is to consume and take on debt. Only by understanding how the imperative of growth turns human bodies into environments and both human and physical environments into economic externalities in a single global system will it be possible to move from moral outrage to political organization.

Sean Cubitt is Professor of Film and Television at Goldsmiths, University of London. His most recent book is The Practice of Light: A Genealogy of Visual Technologies. He is currently completing a manuscript on political aesthetics and the environmental impact of digital media.

15:15 – 16:30, Studio A

Kodwo Eshun
(details tbc)

16:30 – 17:00 BREAK
17:00 – 19:00, RHB Cinema

Elizabeth DeLoughrey (keynote),“MOMENTS IN PASSING”: Maritime Futures of the Anthropocene?

This paper examines a new oceanic imagination catalyzed by sea-level rise, focusing particularly on the submarine sculptures of Jason DeCaires Taylor.

Elizabeth DeLoughrey is Associate Professor in the Department of English and in the Institute for the Environment and Sustainability at University of California, Los Angeles. She is the author of Routes and Roots: Navigating Caribbean and Pacific Island Literatures(2007),and co-editor of Caribbean Literature and the Environment (2005); Postcolonial Ecologies: Literature and the Environment (2011); and a forthcoming volume entitled Global Ecologies and the Environmental Humanities: Postcolonial Approaches (2015). She is completing a manuscript about climate change and empire in literature and the visual arts.

Art Department deadlines and funding opportunities for MPhil/PhD applications in Art and Curating starting 2015

CHASE awards

CHASE Doctoral Research three-year award for PhDs starting in September 2015

Deadline 15 November 2014

We are looking for exceptional research projects proposed by practicing artists, curators and others wishing to base their PhD research in an art department to nominate for the 2015 CHASE award competition.

CHASE is a consortium of seven members: the Courtauld Institute of Art, Goldsmiths, University of London, the Open University and the Universities of East Anglia, Essex, Kent and Sussex. CHASE is one of 11 Doctoral Training Partnerships in the UK funded by the Arts and Humanities Research Council (AHRC). A studentship is worth approximately £19,000 per year for maintenance and tuition fees. CHASE AHRC studentships are open to UK and EU students who meet the residency requirements set out in the AHRC Guide to Student Funding – (http://www.ahrc.ac.uk/SiteCollectionDocuments/Student-Funding-Guide.pdf)

Applications are open for practice-based research and thesis-only PhD proposals. Potential candidates should send a 750 word research project outline, bibliography, cv and digital portfolio (where appropriate) to Professor Michael Newman by 15 November 2014: m.newman@gold.ac.uk

We will hold interviews for CHASE applicants in December 2014. If shortlisted by the Department, applicants will then write a CHASE application in consultation with their proposed supervisor that will be entered into the CHASE competition. Successful candidates will be notified of decisions in April 2015.


Art Department Research Bursaries

Deadline 15 January 2015

In addition, the Art Department awards three one-year research bursaries at £5,000 each. If you would like to be considered for this bursary please send a 750 word research project outline, bibliography, cv and digital portfolio (where appropriate) to Professor Michael Newman by 15 January 2015: m.newman@gold.ac.uk

From me flows what you call time


8-16th May 2014​

New Academic Building Goldsmiths College

Vicki Kerr, Emily Rosamond, Damian Taylor, Eleanor Wright, Orly Orbach, Wayne Binitie, Suzanne Caines, Barbara Pfenningstorff, Andy Weir

Conceived as a touring exhibition, From me flows what you call time is the first in a series of events by graduates and current researchers from Goldsmiths, the Slade and RCA.

As the modern exhibition experience moves us across the space of the gallery, museum, landscape, computer screen and the printed text, what is lost and what is found in each site?

Achim Lengerer at Kolumba and FLACC

Lengerer Entretien sonore avec Fernand

7 May–25 August 2014
Kolumba, Cologne, DE


Entretien sonore avec Fernand Deligny
Public rehearsals for a soundtrack


Kolumba, Cologne, DE
 7May–25 August 2014

To participate in open rehearsals:
Kolumba, Cologne: 14–18 May, 18–22 June, 16–20 July and 13–17 August; noon–5pm daily. Please register at mail@kolumba.de. Visit www.kolumba.de for more information.
FLACC Workplace for Visual Artists, Genk, Belgium: 10–14 September. Please register at info@flacc.info. Visit www.flacc.info for more information.

In his artistic practice, Achim Lengerer explores the various mechanisms and effects of language and text. In addition to performances, installations and publications, his modes of expression also include workshops, performative lectures and public events. He runs Scriptings, a publishing house and exhibition space in Berlin, and is currently working on a PhD at Goldsmiths, University of London on the format of the collective rehearsal as an artistic and political model for potential spaces of social negotiation.

Lengerer’s engagement with the French social worker, writer and filmmaker Fernand Deligny (1913–96) forms the starting point for the project, which will be realized in cooperation with Kolumba, the Westdeutscher Rundfunk music studio and FLACC Workplace for Visual Artists (Genk, Belgium). In the 1940s Deligny began working with children as a social worker. From the very beginning, his work was complemented by his writing: “Le moindre geste a une histoire” (The smallest gesture has a story), he wrote in the first sentence of his November 1966 article “Journal d’un éducateur” (Diary of an Educator). In the course of the 1960s, Deligny increasingly withdrew from institutional contexts. Together with a group of young adults he founded a community in the south of France in order to live with children labeled by psychiatrists as “autistic.” In his work as a pedagogue, he aimed not to educate or heal the children entrusted to his care, but rather to enable them to create an environment and an arena for their own unique ways of utilizing space and time.

Achim Lengerer’s approach to Fernand Deligny’s thinking takes place “inside and outside language.” At Kolumba, an archive will document the work of Deligny and his colleagues: Drawings, cards, magazines, books, texts and the film Ce gamin, là (dir.by Renaud Victor) provide insight into their thoughts and actions. Lengerer will explore Deligny’s thinking-in-language in a collective translation workshop focusing on his voice-over text for Ce gamin, là and other writings, while the emptied-out Tower Room next door will be used as a space for activities “hors langage” (outside language). Public Rehearsals for a Soundtrack will serve as a social-relations laboratory, allowing the artist to experiment with directed and undirected action in line with Deligny’s distinction between the verbs faire (to do) and agir (to act). At FLACC in Belgium, the project leaves the museum space behind: Tested strategies of action/negotiation will be incorporated into a contemporary sociotherapeutic practice in conjunction with various private and municipal groups in the town of Genk.

Kolumbastraße 4
DE-50667 Cologne

Workplace for Visual Artists

André Dumontlaan 2, B-3600 Genk

Supported by Stiftung Kunstfonds, Bonn.

Hallucinatory Theatres

Goldsmiths Art Research Symposium

12 – 14 May, 2014

The next symposium for Goldsmiths Art Research will address questions and discourses relative to hallucination, illusion and their theatrical embodiments, in sites of art production and otherwise.

This will be an opportunity to discuss the critical urgency of detangling the stigmatic tropes of hallucination / illusion, and qualifying their heterotopic, extra-aesthetic possibilities. As neurological research continues to inform the speculative hyperbole of accelerated technology and capitalism, assessing what defensive tactics exist against these affective mechanizations is crucial.

The employment of the theatrical in this examination serves to both deflate the ‘reality’ status of hallucinatory or narrativised control mechanisms (pathology, retail entrancement, ‘soft’ torture, etc), as well as to invoke the revolutionary tool-box of theatre itself in discussing alternative positions.

How might the fluid hyper-subjective characteristics of hallucination ooze into binding coordinations of the social? What role do embodiments of trance and ecstasy have to play within the aims of emancipatory projects? Further to this, how might empirical models of supra-sensorial states inform transformative tactics, counter to those implemented by (para)military, retail and
entertainment agencies?

Relevant to these and other questions, presentations, screenings and performances will consider various cultures and practices sympathetic to hallucination and other idiosyncratic states of perception, including ceremonial magic, psychedelic culture, liminal performance and discourses exploring synaesthesia and extra-sensory perception.



10.30 am Introduction – Joey Ryken
11.00 – 12.00 Mark Harris on Walter Benjamin and psychedelic consciousness
12.00 – 13.00 David Luke – Fragments of an anarchist psychology
13.00 – 14.00 Break
14.00 – 15.00 Daria Martin screening Sensorium Tests (2012), and discussingsynaesthesia and establishing empathy with the arts.
15.00 – 15.45 Andrea Phillips on Stengers and Federici; capitalism, feminism andwitchcraft.
15.45 – 16.30 Sharlene Khan on the masquerade of blackface in contemporary SouthAfrican visual arts.
16.30 – 17.30 John Cussans on Black Power and Voodoo Politics.


10.30 – 11 am Introduction
11.00 – 12.00 pm Bonnie Camplin on meta-theatrical art practice
12.00 – 13.00 pm Achim Lengerer – Layout for Hallucinatory Theatres Symposium(Working Title)
13.00 – 14.00 pm Break
14.00 – 15.30 pm Vanessa Desclaux (TBC)
15.00 – 16.00 pm Joey Ryken on hallucination as a tactical mode of knowledge production+ Demonstration: Hallucinatron 5000
16.00 – 17.00 pm Ryan Jordan on shaman-wood and performing audio-visual catharsis


10.30 – 12.30 Shezad Dawood speaks about his exhibition Towards the Possible Film,at Parasol Unit, 14 Wharf Rd N1 7RW
14.00 – 16.00 Screening TBC

Bonnie Camplin‘s practice she broadly describes as the Invented Life and has included eight years as a para-theatrical producer, director, dancer and performer of experimental club nights in Soho London as well as work across the disciplines of drawing, film and video, performance, music and writing. She has shown in London and Internationally and her work has included collaborations with artists Enrico David, Mark Leckey, Lucy McKenzie and Paulina Olowska. She has lectured at Goldsmiths London, The Ruskin School Oxford, University of Manchester, The Architectural Biennale Venice and has participated in Jury work at the AA London. She was Professor of the Film-Class at Städelschule Frankfurt from 2008 to 2010. Most recent project (in collaboration with Kieron Livingstone and James Mullord) was devising and leading a workshop on the metaphysics of surveillance at Hayward Gallery London as part of the Wide Open School project. She is currently a visiting lecturer at Goldsmiths College.

John Cussans is an artist, writer, independent researcher and educator. He is currently working a book project – Undead Uprising: Haiti, Horror and the Zombie Complex – which reconnects sensationalist misrepresentations of Haitian religion and culture to the historical actualities of the country.

Vanessa Desclaux is a history of art professor at the Ecole nationale supérieure d’art in Dijon. She is currently doing a PhD at Goldsmiths College of the University of London. She is also an independent curator. From 2006 to 2009, she worked for the Tate Modern as an assistant commissioner on several exhibition and performance projects and she worked for the exhibition programme of Bloomberg Space in London between 2009 and 2010. She also is the author of art essays and writes for specialized European press on a regular basis.

Mark Harris teaches critical studies on the BA and MFA at Goldsmiths College, London. Degrees include MA in Painting from The Royal College of Art, London; MA in Continental Philosophy from University of Warwick, Coventry; and PhD in Philosophy from Goldsmiths College, London.

In 2005 he received an Arts Council England Fellowship with the Long March Project, Beijing. Recent exhibitions of his work include State Fare (Wexner Center, Columbus, 2007), Utopian-Bands, (2 kolegas, Beijing, 2006), Morning Star (Country Club Gallery, Cincinnati, 2010), High Times at the Wellcome Collection, London (2011), London Open Whitechapel Gallery, London (2012), Sparrow Come Back Home at the Delaware Center for the Contemporary Arts (2014).

In 2009 he received a Warhol Foundation/Creative Capital Art Writers Grant. Published essays include “Pipilotti Rist’s Music” for the Contemporary Arts Museum, Houston, “Chelsea Hotel, March 14, 2008″ on Marcia Farquhar’s performance work, “The City Sings,” on Heather Phillipson’s video work, and “Marcia Hafif: Glaze Paintings”. He has contributed an essay to The Countercultural Experiment: Consciousness and Encounters at the Edge of Art, University of Minnesota Press.

He has curated exhibitions such as Educating Barbie, at Trans Hudson Gallery, New York, 1999; Bad Drawing–malevolent, misbehaving, misunderstood (2006) and Once Upon A Time In The Midwest (2007) at the University of Cincinnati; Star Maker, (with David Burrows) at E:vent gallery, London, (2009).

Ryan Jordan conducts experiments in derelict electronics, possession trance, retro-death-telegraphy and hylozoistic neural computation. He
builds crude instruments that replicate fundamental electronic components which are the foundation of current digital technologies. Performing these
live alongside high powered stroboscopic light he attempts to induce the hallucinatory and trance like states of the (oc)cult arts.

The performances demonstrate his self constructed hardware built with raw minerals and metals and then spiral sideways into practices reaching
beyond techno, burrowing through noise infested cybernetics, crude neuroscience, and distorted physiology in an attempt to piece together our
fragmentary daemons and split the nine-fold reality layers of human perception; from communing with the dead to disturbing the holographic
brain; from trance states to opening flicker portals in optic nerve fibres; these practitioners practice dark hypnosis in psychoactive hyperventilation clubs.

Ryan has presented his work internationally in a wide range of venues from art and academic institutions to derelict warehouses and squats at places such as Sight + Sound Festival (Montreal, Canada); LACMA (Los Angeles, USA); Subtle Technologies (Toronto, Canada); Transe(s) Symposium (Strasbourg, France); SPILL Festival (Ipswich, UK); Resonant Chamber (Riga, Latvia); FACT (Liverpool, UK); Belluard Festival (Friburg,Switzerland); CTM Festival: CTM.12 (Berlin, Germany); Pure Data Convention (Sao Paulo, Brazil); Piksel Festival (Bergen, Norway); ISEA (Istanbul, Turkey); and NEXT Festival (Bratislava, Slovakia).

He also runs noise=noise, a research laboratory and live performance platform aimed at developing a network of artists, programmers, and
researchers working in the areas of noise, experimental, exploratory, and outsider arts.

Sharlene Khan is a South African visual artist currently engaged in a practice-based PhD in Arts at Goldsmiths. Khan’s work often incorporates a range of media that generate installations and performances which focus on theintersectionality of race, gender and class in the socio-political realities of a post-apartheid, post-colonial society. She uses masquerading as a decolonising strategy to interrogate her South African heritage as well as the constructedness of identity via rote education, art discourses, historical narratives and popular culture.

Dr David Luke is Senior Lecturer in Psychology and joined the Department of Psychology and Counselling at the University of Greenwich in October 2008, having previously lectured in psychology at the University of East London, the University of Northampton and the University of Westminster. Dr Luke currently coordinates the courses entitled the Psychology of Exceptional Human Experience, and Individual Differences and Abnormal Psychology, and also teaches research methods, criminology and forensic psychology, and functional neuropsychology for speech and language therapists. He is also Link Tutor for the BSc Psychology programme at New York College, Athens, Greece. Dr Luke was President of the Parapsychological Association between 2009 and 2011, and in 2011 received an Early Career Research Excellence Award from the University of Greenwich.

Daria Martin’s 16mm films aim to create a continuity or parity between disparate artistic media (such as painting and performance), between people and objects, and between internal and social worlds. Human gesture and seductive imagery meet physically mannered artifice to pry loose viewers’ learned habits of perception. Mistranslation opens holes for imagination to enter or exit.

Subjects such as robots, an archive of dream diaries and close-up card magic, are explored within isolated spaces such as the wings of a theatre, a military academy, or a scaled up modernist sculpture. These protective yet fragmented settings, full of seams and shadows, stand in for the capacities of the film medium itself, a permeable container that consumes and recycles the world at large.

Dr Andrea Phillips is Reader in Fine Art and Director of PhD programmes in the Art Department at Goldsmiths. Andrea lectures and writes about the economic and social construction of publics within contemporary art. Current publications include: How To Work Together (http://howtoworktogether.org/think-tank/andrea-phillips-how-to-work-together/, Chisenhale Gallery, The Showroom, Studio Voltaire 2014), Remaking the Arts Centre (Cluster: Dialectionary, Sternberg 2014), Art as Property (Economy: Art and the Subject after Postmodernism, Liverpool University Press, 2014), Civic Building (David Adjaye University of Chicago Press 2014) Public Space (A Space Called Public, Walter Koenig 2013), Constructed Situation (Architecture as Situation, University of Edinburgh 2013), Art Work (Esther Shalev-Gerz: The Contemporary Art of Trusting Uncertainties and Unfolding Dialogues, Art & Theory 2013). Recent and ongoing research projects include: Curating Architecture, a think tank and exhibition examining the role of exhibitions in the making of architecture’s social and political forms (AHRC 2007-2009), Actors, Agent and Attendants, a research project and set of publications that address the role of artistic and curatorial production in contemporary political milieus (in collaboration with SKOR 2009-2012), co-director with Suhail Malik of the research project The Aesthetic and Economic Impact of the Art Market, an investigation into the ways in which the art market shapes artists’ careers and public exhibition (2010-ongoing), Public Alchemy, the public programme for the Istanbul Biennial 2013 (co-curated with Fulya Erdemci), Tagore, Pedagogy and Contemporary Visual Cultures (in collaboration with Grant Watson and Iniva, AHRC 2013-2014), How To Work Together, an investigation into the social and economic values of contemporary non-profit arts organizations commissioned by Chisenhale Gallery, The Showroom and Studio Voltaire (2013-2015).

Joey Ryken is an artist and PhD Candidate based in London, UK. His work investigates contemporary uses of disorientation within cultures of containment, from shopping centres to military technologies, the disco to the torture chamber. Ryken has exhibited, performed and coordinated events in idiosyncratic locations throughout California (US) and in London (UK), as well as at major arts institutions, including Camden Arts Centre, London; The Institute of Contemporary Art, London; Gasworks, London; Artsway, New Forest.

Francisco Sousa Lobo is a Portuguese artist currently living and working in London. He studied architecture and illustration in Lisbon, and practiced architecture for ten years, before coming to London. In London he studied printmaking at the Royal College of Art, and is currently pursuing a PhD in Art at Goldsmiths. He is now mostly devoted to comics and fine art, and is a teaching assistant in art writing at Goldsmiths. Francisco also writes for academic and artistic purposes, in the fields of critical theory, fine art, and comics theory.

His comics are usually published in Portugal by Associação Chili Com Carne, both in Portuguese and in English. He has recently published The Dying Draughtsman in late 2013, and will have two new books coming out in 2014 (The Care of Birds and A Desert God).

The Care of Birds will be a 150 page comic on the life of Peter Hickey, an Irish birdwatcher and bird illustrator, and will focus on the love of children. It is purely fictional, as purity goes.

A Desert God will be a 60 page comic on a week Francisco Sousa Lobo spent in a Carthusian monastery in Southern Portugal, close to the town of Évora. It is autobiographical documentary, and as most of his comics, idea based.

Francisco Sousa Lobo has exhibited widely in the fields of art and comics, and his work is present in public and private collections in Portugal and the UK.


3-5 march 2014, room 5 studio B (Barriedale Building)

The GHOST TIME// FUTURE ANTERIOR// COSMIC TOOLS symposium juxtaposes takes on and from the future as they make a claim to the present. At a moment in time when the future is both unapologetically bankrupt and overwhelmingly omnipresent as a rhetorical and bio-chemical haunting, the three days of presentations, conversations, screenings, lectures and reports from within the research programme and with their guests, set up scenes from which to inhabit such projections. Animating research in artistic practice and military technology, corporate futurology and superstitious conspiracy material, the conversations are set between Ljubljana and Djibouti, post-Mayan cosmologies, drone skies and terrestrial ruins. Their shared concerns and contested claims are arranged across incompatible horizons in order to establish what can be gained from their improbable collisions.

3 MARCH, (10am–5pm)

Morning (10–1)

John Cussans

‘Haunted by the Future, The Ideoplasmic Congress 1973 – 2003′

20 Minute Presentation // Respondent: TBC
Shortly after the Project VALIS event of March 2002 rumours began circulating within the Bughouse about a reputed gathering of parapsychologists in the former Yugoslavia that bore an uncanny resemblance to Stanislav Lem’s 1971 novel The Futurological Congress. Between 2002 and 2004 Bughouse operatives made several visits to Ljubljana in Slovenia to research the substance of the story. The findings of these investigations were presented to a public audience in November 2003. Building on this material Monday’s presentation will address the temporal and philosophical incongruities of soviet parapsychology during the Cold War from a retro-futurological perspective and discuss the role of hyperfictions as critical-theoretical tools for predicting and reflecting upon possible futures.

Andy Weir

‘Desert Scan, Accelerating Abduction, Ourzazate Versions’

20 Minute Presentation and discussion // Respondent: TBC
I will present some rough thoughts and artwork in progress around abductive reasoning (C.S. Peirce; Lorenzo Magnani) alongside recursive future sonic abductions (the despotic regime never sounded so good before—Kodwo Eshun). This suggests a method to model, and be compelled by, complex abstract entities (like the future, or deep time) as hypothetical fictions. The work, in collaboration with a neuroscience lab and some other more shady partners, draws on military accelerations of abduction for data extraction, and near- future conspiracies that feed on its pleasure.

Afternoon (2–5)

Jacob Park

‘Four Futures is Best’ (Skype conversation)

1 hour video of Skype conversation with Ramon Bloomberg // 22 February 2014
Jacob Park is a futurologist and scenario planner in a broad practice that spans industries as diverse as fashion and energy. Park’s futurological practice consists of the construction of multiple futures scenarios in a methodological framework that includes workshops in which the client is encouraged through various means, to shift their epistemic frame in order to more closely feel the avenir. In this wide ranging conversation Park discusses the genealogy of future studies in cold war military industrial theory, the methodologies of scenario planning, the challenges of complexity theory and quantum physics on the everyday practice of future studies, among other themes.

Beau Travail

Screening of Claire Denis’ film

<p?92 Minute Screening // Respondent: TBC
Beau Travail is loosely based on Herman Melville’s novella Billy Budd. Denis has set the movie in Djibouti, where the protagonists are soldiers in the French Foreign Legion.

4 MARCH, (10am–5pm)

Morning (10–1)

Gregoire Chamayou

Théorie du drône

Conversation between Ramon Bloomberg and Edgar Schmitz
Building upon his previous work on the manhunt doctrine, Gregoire Chamayou’s recent book Théorie du drône (Paris: La Fabrique 2013) sets out to construct a philosophy of the drone as emblematic of shifts in the wielding of sovereign power from the battlefield over to the hunting ground, from armies to the individual body.
Théorie du drône has not yet been translated into English. This conversation aims to open up this work in anticipation of a translation becoming available.

Ramon Bloomberg

‘A Drone Fiction: The Buccaneer’s Gaze’

20 Minute Presentation // Respondent: Manuel Angel
In this presentation I will introduce the idea of Drone Fiction by unpacking a comment by David Cameron at the Lord Mayor’s banquet in 2013. In his speech, Cameron proposed a permanent austerity accompanied by a return to the buccaneering spirit. What is a buccaneering spirit? Unraveling the buccaneering spirit will lead to the construction of theBuccaneer’s Gaze, an optic that I will understand through a discussion of the 2009 hijacking of the Maersk Alabama container ship by Somali pirates. Reading Cameron’s buccaneer’s gaze as a drone fiction, will suggest the wide ranging impact of the weltanschauungcrystallised into networked information machines.

afternoon (2–5)

Emily Rosamond

Character and Counterfactual Time (a prelude)

20 Minute Presentation // Respondent: TBC
This performance-lecture acts as a prelude to two forthcoming exhibitions, each of which explores non-linear conceptions of time: a collaborative residency/exhibition by Rosamond, Kate Pickering and Steven Levon Ounanian (ASC Gallery, 4 April 2014) and “From me flows what you call time”, a group exhibition curated by Suzanne Caines and Wayne Binitie (Goldsmiths, May 2014). Dover Castle, in Kent, has been a key site for both real and counterfactual warfare. It was to be a battleground during the Napoleonic invasion of England, which (thanks to the Battle of Trafalgar) never happened. In World War II, it wielded inflatable rubber tanks and leaked fake intelligence to German spies, to make them believe that what were to become the D-Day landings were intended for Pas-de-Calais. In realist fiction, words spin lives both led and unled for their characters. Counterfactual, imagined lives – according to which characters might have acted differently, chosen differently, married differently – crowd around the consequences of their actual events and decisions. But what is the ontological status of these counterfactual histories – and what do they say about the future, as itself a continually rewritten fiction? What sites, which characters are most susceptible to counterfactual pressure upon the actual? Drawing from a diverse range of material – from fiction to board games, Bergsonian philosophy, vision quests and cooking – the lecture explores the precarious character as a flexible storage unit for counterfactual time. The “author” of this intellectual perspective is erosamon, a fictitious academic whose thought advances through erotic-conceptual processes somewhere between imagery and argument, poetry and claim.

5 MARCH, (10am–5pm)

Morning (10–1)

Ele Carpenter and Susan Schuppli

Airborne Phantoms, Stealth Skies

40 Minute Conversation and Discussion

Mark featherstone

The Future in Ruins: Technics and Apocalypse

20 Minute Presentation // Respondent: Ramon Bloomberg
In his paper Mark will discuss the relationship between technology, utopia, dystopia, and the collapse of the future into a kind of permanent apocalyptic present.

Afternoon (2–5)


The Freestone Drone, 2013

13 Minute Screening and discussion // Respondent: Ramon Bloomberg
George Barber’s The Freestone Drone follows a mission from the point of view of the machine. The drone’s camera surveys cityscapes, encounters individuals, reports, and in flight becomes aware of its own utility and destiny. Drone operators routinely study the washing to learn about their targets – it is foretold that the Freestone Drone is to die entangled in a clothes line.
The video combines found and made footage to produce an uneasy, seductive montage, anchored on the drone’s private thoughts. Barber brings together war, love, life, death, and sends the drone over not only Waziristan, but also to New York and a London suburb. The drone then travels through time, projecting images of the past and possible futures. While narrative unravelled on screen resists easy categorisation, the artist draws the viewer to empathise with the antagonist. Engendered with human consciousness and independence, the drone is a poet who disobeys orders and does his own thing, a child within a machine.


Fractal Access Totems

40 minute screening of his newest film // Respondent: Manuel Angel
The film is François’ latest film. It explores surfacing and repressed mystical and conspiratorial takes on historical sedimentations, disjunctive time frames and contested geopolitical spaces. This intersection treats American materials on a broader scale, as (potentially) exposing modalities of thinking beyond, through and against south-of-the-border auto-immunisations of the North.



Alex Pollard - 'Chrome Poulaine' - 2010

Goldsmith’s Art PhD Symposium

27-29 January, 2014

What does the political, legal and economic world-of-thought of the Middle Ages have to offer as a means of unpicking the founding rituals of late capitalism, its technologies and attendant flow of images?

Neo-medievalisms are becoming more commonplace in contemporary culture. Some critics have linked Neo-Medievalism to the current global political context of collapsing sovereignty and ‘divided loyalty’ (Bruce Holsinger and Hedley Bull).

Others have used the term to discuss a renewed interest in Marxist critique, perhaps as a way of understanding the late capitalist conditions of precarity and immaterial labour that have infused our lives (Hardt and Negri).

Objects and their networks are also linked to Neo-medievalist ideas. The Speculative Turn of philosophy opens up spaces for ‘future pre-moderns’.

References have also appeared within pop culture such as the recent album by the Kaiser Chiefs titled ‘The Future is Medieval’. We now seem to have a collective obsession with medieval role-playing games online (Erik Davis) and many of our mythic avatars are no longer left in the virtual realm (the high street fashion for the ‘onesie’).

This symposium showcases a mixture of performance, readings, lectures, art objects and video works by artists, curators and critics who in varied ways touch on the theme of neo-medievalism.


Neo-Medievalisms Programme

27-29 January, 2014


11.00- 2.00

Gasworks Gallery
155 Vauxhall Street
London SE11 5R

Nearest stations
Vauxhall: Victoria line and National rail
Oval: Northern line

Gallery visit to Late Barbarians the second exhibition of The Civilising Process, a year long programme of exhibitions and events at Gasworks inspired by Elias’s eponymous 1939 book, which looks at the development of the tastes, manners and sensibilities of Western Europeans since the Middle Ages.

Introduction to the show by curator Robert Leckie.



1.00 – 4.00

Chair – Robin Mackay

Intro to symposium by Roman Vasseur

Introduction to NeoMedieval themes by Neil Mullholland.

David Burrows and Simon O’Sullivan – Plastique Fantastique

5.00 – 8.00
5.00 Neil Mulholland & Norman James Hogg (Hogg via Skype)
In conversation with Alex Pollard.

6.30 Erik Davis- Cultural critic and author of Techgnosis. (via Skype)


Chair – John Chilver

10.30 -1.00

Robert Leckie – curator Gasworks Gallery – the Civilizing Processs

Sarah Lambert – Goldsmith’s History Department

2.00 – 5.00
Individual Video works and discussion:
Ramon Bloomberg – Glacis
David Ferrando Giraut – CATOPTROPHILIA

5.00 – 7.00
Closing event
Compiled video excerpts and drinks.

Artwork installed for duration of symposium:

Alex Pollard – ‘Chrome Poulaine’ – 2010

Christ Unlimited Redux –  (Video Sequence – work in progress)  Roman Vasseur