Launch of QGJCPLB

QGJCPLB

25 October 2013, 6-9PM

By Manuel Ángel, Annabel Frearson, Ryoung Kim, Francesco Pedraglio, Barbara Pfenningstorff, Emily Rosamond, Anca Rujoiu, Pieternel Vermoortel, Andy Weir

Taking the seminal art journal OCTOBER as a point of departure, QGJCPLB playfully addresses the interstices between art, theory, historicity, critical writing and narrative. In revisiting and formally mutating OCTOBER, QGJCPLB questions the relationships between critical discourse and the supposedly cohesive and authoritative voices through which it has been historically staged. QGJCPLB is a collaborative endeavor between researchers in the Goldsmiths Art Research Programme and the curatorial team of FormContent http://formcontent.org/

Join us as we celebrate the launch of QGJCPLB with presentations of original works and drinks!
Supported by the Goldsmiths, University of London Graduate School Fund.


Art and Organisation

MONDAY 21 – WEDNESDAY 23 OCTOBER 2013
SEMINAR ROOM B005, STUDIO B, GOLDSMITHS
10.30-17.00 each day

Over the past decades a number of criticisms of organisational structures within the Anglo-European field of contemporary art have struck home, particularly those that see in art’s particular form of self-reflexivity (institutional critique) nothing more than the accrual of extended cultural capital. Yet there is a residual desire to believe that what we do is different from other industries in terms of the development of subjective, intellectual and experimental spaces that are paradigmatically dedicated to the creation of social as well as fiscal wealth. How might this be? If art’s institutions, from biennials to artists-run spaces, seek to maintain a distinction between content and structure (between what is ‘on display’ and the economic, psychic and social modes through which it is organised for display), what might be the ways in which we can think of structure as the site of cultural politics, as the site of intellectual and equitable forms of making? What new forms of institution take seriously alternative organisational structures and what are their values? What kinds of organisations are being developed dedicated to different forms of public exchange? How might we imagine their values, their methodologies, ourselves working with and in them?

The symposium will feature presentations and discussions by guests including Mark Fisher (author), David Boyle (New Economics Foundation/New Weather Project), Maria Lind (Tensta Konsthall Stockholm), Binna Choi (CASCO Utrecht), Nina Montmann (curator), Emily Pethick (The Showroom London), Aneta Szylak (Wyspa Gdansk), Mao Mollona (anthropology and economics) and Stefan Nowotny (EIPCP, Goldsmiths) as well as research and MFA Curating students. An open meeting of the Stockholm Circle, a loose affiliation of international institutional practitioners will take place on one morning of the symposium. All welcome. Please contact j.ryken@gold.ac.uk for more details.


When Site Lost the Plot

Goldsmiths 7-9 May, 2013
Studio B, room 5
9.30-5 each day with evening screenings

“To remove the work is to destroy the work”. Where site-specificity once seemed to harbor a potential for disruption (Serra’s Tilted Arc, Haacke’s Shapolsky work), what status can this insistence have once it is a mainstay of capitalist logic to transform specificity into reproducible symbol and immaterial value? How is the materialist critique of ‘site’ short-circuited when art’s site is reimagined as being unproblematically continuous with the real, or when a chain of locations are fabulated through the franchised idiosyncrasies of an itinerant artist/curator?

The symposium sought to examine the legacy of ‘site’, to ask whether, on a planet whose entire surface is mapped and apped, the critical force of the concept is spent; and to chart some of the (perhaps irreducibly multiple) ways in which site continues to be a concern for contemporary practice.

Alongside artists showing and discussing their work, speakers introduced concepts from various disciplines (fiction, mathematics, philosophy, geography, geology) that may help us to think otherwise the relation between local and global, between specific sites and their material conditions: Plot, Platform, Trauma, Topos …

How to do justice to the particularity of local sites while unearthing their material conditions? What can a site-specific philosophy (“geophilosophy”) and the historical lessons of art practice offer each other, in developing a set of tools to avoid trivial reconciliations between local sites and global conditions, allowing instead for the controlled unpacking of the local into the global, and vice versa?

Participants:
Chaired by Robin Mackay (Urbanomic), with contributions from Paul Chaney, Nick Ferguson, Ilona Gaynor, John Gerrard, Shaun Lewin, Julia Martin, Jeremy Millar, Reza Negarestani, Miranda Pope, Benedict Singleton, Tom, Trevatt, Roman Vasseur, Matthew Watkins

The Symposium will also include showings of:
Jan Svěrák Ropáci (Oil Gobblers) (1988)
Shu Lea Cheang The Trial of Tilted Arc (1989)
Jeremy Millar Zugzwang (Almost Complete) (2006)
Mark Fisher and Justin Barton On Vanishing Land (2013)


Escapologies 2 OR 3 Symposium

4 – 6 March, 2013

Escapologies 2 OR 3 Symposium presented a 72-hour playlist of visual and audio material, developed from a two-year research group examining temporalities of exit and withdrawal – escapes in, through and against time. Inviting discussion on and around the work, the symposium sought to further test and expand ideas around immersivity, interfacing and temporal diagrams as they have emerged from both on-going research as well as previous strategies in orchestrating the symposium.

Hosted by Manuel Angel, Suzanne Caines, Kyoung Kim, Barbara
Pfenningstorf, Nuno Ramalho, Edgar Schmitz, Linda Stupart and Andy
Weir.

With contributions and responses from Ed Atkins, Don DeLillo, Steve
Erickson, Pierre Huyghe, John Mullarkey, Sara Roberts, Benedict
Singleton, Nick Srnicek and Alex Williams.


The Matter of Contradiction: War Against The Sun

matter

1st, 2nd and 3rd of March 2013, London
Mute magazine offices at Limehouse Town Hall

In association with the David Roberts Art Foundation, Mute magazine, and CCS Goldsmiths. Keynotes: Ray Brassier, Anselm Franke, Reza Negarestani and Robin Mackay.

War against the sun is the third event in The Matter of Contradiction series.
Tom Trevatt, co-organiser, PhD Curating.


Composition

28 – 30 January, 2013

The Composition Symposium explored composition as a once vital and normative apparatus and pedagogic principle in music, visual art, architecture etc., and why it might be that it is a word we seldom hear in discourses of Contemporary Art. From an art historical perspective, the end of Modernism can be traced to the annihilation of composition at the hands of minimalism, as advocated by Judd. But long after such battles were lost or won, might we turn to a re-imagined concept of composition as a means of describing the necessary complications undertaken in contemporary practices?

Hosted by John Chilver, with contributions from Steve Claydon, John Drever, João Gonçalves, Francisco Sousa Lobo, Roman Vasseur, and Bettina Wind.

 


Community Play

10-12 December, 2012

The Community Play Symposium entailed a performance of Bertolt Brecht’s lehrstucke He Said Yes/He Said No, repeated and modified by interventions and interruptions by guests and research students.  Following the repetition formally inherent in the lehrstucke, specificities within research specialisms were both drawn-out and destabilised in order to improvise with (our own community) roles.

Invited participant-interventions included Gail Pickering, Francesco Pedraglio and Pieternel Vermoortel of FormContent, Kyoung Kim and Daniel Rourke, Achim Lengerer, Andy Weir, and Antony Hudek in conversation with film-maker and curator Christian Lei


All My Independent Women 2012

independent_women_2013

27 September – 05 December, 2012

Interested in understanding and supporting feminist modes of production and circulation of artists’ practices that deal with issues around gender, this project marks the coming together of three important archives: the Women’s Art Library/Make, the Open Music Archive, and the AMIW Video Lounge.

The programme combines a series of talks, workshops, roundtable discussions, and viewings hosted at Goldsmiths University of London over a three months period, and two music commissions to be premiered on the 16 November at Cafe OTO.

With: Miguel Bonneville, Genève Brossard, Ele Carpenter, Catarina Carneiro de Sousa, Hyun Jin Cho, Carla Cruz, Beatrice Dillon, Mónica Faria, Althea Greenan, Karen Gwyer, Mika Hayashi Ebbesen, Risk Hazekamp, Nina Hoechtl, Anna Jonsson, Alex Martinis Roe, Cristina Mateus, Susana Mendes Silva, Sameiro Oliveira Martins, Lara Perry, Rita Rainho, Flávio Rodrigues, Eileen Simpson, Evelin Stermitz, Francesco Ventrella, Lenka Vráblíková, Ben White. Carla Cruz, Organiser, PhD Art