Practising Feminism

23rd/ 24th January Activism and Practice

We would like to invite you to the second event in a series of workshops and lectures, Practising Feminism, which considers questions of feminist art practice; what the role of feminism is in contemporary art practice, how we relate to feminist genealogies, critiques, methods and theory as practising artists, writers and critics, how might we resituate knowledge as feminist, and how feminist practices and methodologies have and continue to influence contemporary art practices.

The 2nd event of the Practising Feminism series will look at practices in relation to feminism and activism and will consider how feminist strategies of protest are being deployed in contemporary political events including embodied protest. Some of the questions to be addressed include; Who are these practices speaking for and to? What is their role within a wider context of activism? Are they symbolic or actual agents of change? What can we learn from a feminist critique of the relationship between art and politics? How does the willful Feminist subject perform within art and other social practices?

  • Thursday 23rd Jan RHB 137A 6pm: Sara Ahmed ‘Feminist Killjoys (And Other Willful Subjects)’
  • Friday 24th Jan: 11:00 – 18:30 Women’s Art Library/MAKE

We will hold 2 workshop sessions with Sara Ahmed and then Marina Vishmidt and Irene Revell as well as a screening from the Cinenova archive. The confirmed schedule for the day will be circulated early in the coming week. Please let us know if you are interested in attending the workshops by contacting linda.stupart@gmail.com Preference will be given to people who can attend the whole day’s events, to those who participated in the first series of workshops last term and to those who are involved in artistic practice and/or research.

Supported by Art Research Programmes, Department of Art, Goldsmiths and the Centre for Feminist Research


Methodologies Symposium

9th – 11th December 2013

Kurtz: Are my methods unsound?
Willard: I don’t see any method at all, sir.
Apocalypse Now

The pluralizing of ‘methodology’ points to problems at the heart of artistic research. As a scholarly buzzword that often substitutes critical reflection on method for the implementation of a body of methods, ‘methodology’ has entered the lexicon of artistic research as a distinctive term in its jargon of authenticity. Depending on whether we approach it as an art-making, knowledge-producing or critical practice, the methods we evaluate, and the evaluation of those methods, will be different. Over the last four years art education and research has been subjected to increasingly byzantine forms of justification and policy. As the institutions that host art education continue to aestheticize the accounting and production of knowledge, the politic of a form of knowledge production that is in itself aesthetic is called into question. How can its methods be defended, or in fact stated, as positivities of knowledge that address the aestheticized realism and temporalities of our current economic, political and institutional situation? This three day symposium attempts to address this general question by interrogating the three conventional approaches to artistic research – Art Making, Contribution to Knowledge and Critique – addressing each in terms of the following questions:

  1. How do we differentiate between ‘theory’, ‘practice’ and ‘method’ in each case?
  2. How do institutional philosophies influence what methods are deemed appropriate?
  3. What role do theories of embodiment and performativity play in methodology?
  4. What role does teaching play in the choice and transmission of methods?
  5. What are the site-specific characteristics of artistic research?
  6. How do artistic research methods negotiate their legislative validation?

The symposium is composed of three one-day open-discussion forums in which invited and internal speakers will give short, lead presentations of approximately ten minutes on selected questions within the topic areas.

Critique

(10 – 1/2 – 4 pm)

Speakers
Melissa Gordon (Artist, Lecturer in Fine Art, Goldsmith’s College of Art)
Linda Stupart (Artist, PhD candidate)
Roman Vasseur (Artist, Senior Lecturer Kingston University, PhD candidate)
‘On Carl Schmitt, Romanticism and Critique’

Chair: Linda Stupart/John Cussans

Tues. 10th December

Contribution to Knowledge

(2 – 5/5.30 – 7.30 pm)

Speakers
Malcolm Quinn (Associate Dean of Research CCW Graduate School)
Andrea Phillips (Director of the Doctoral Research Programmes in Fine Art and Curating, Goldsmiths)
John Russell (Artist, Director of Research for Art, University of Reading)

Chair: John Cussans

Wed. 11th Dec.

Art Making

(10 – 1/2 – 4 pm)

Speakers
Rachel Garfield (Director of Postgraduate Studies, University of Reading)
Jon Meyer (Artist, PhD candidate) ‘On the Professionalization of Artistic Labour’
Cristina Thorstenberg Ribas (Artist, PhD candidate)
‘Cartography Workshop – Drawing Conclusions?’

Chair: Roman Vasseur


Practicing Feminism Workshops: Practising Theory

November 21st

We would like to invite you to the first in a series of workshops and lectures, which will consider questions of feminist art practice; what the role of feminism is in contemporary art practice, how we relate to feminist genealogies, critiques, methods and theory as practising artists, writers and critics, how might we resituate knowledge as feminist, and how feminist practices and methodologies have and continue to influence contemporary art practices.

The workshop structure is intended to test a historical model in an academic context now, which has influenced much contemporary practice (to include alleged socially engaged and relational practices). We imagine challenges and critiques of the workshop as feminist pedagogical structure to form a part of the series.

Our first day’s session considers the particular relationships between reading. writing and artmaking within the framework of feminist practices.

It is essential that you book a space for the workshops. To do so please contact Linda Stupart or Karen Henderson:
linda.stupart@gmail.com or klhende@hotmail.com
Continue reading…


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