Category Archives: EVENTS

OPEN MEETING

Self-organisation

14 July 2017, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome, no need to book

Buzzer located to the left of the entrance, we’re meeting in the office on the top floor

[ART&CRITIQUE] Open Meeting. Arch 213 Homerton, 12 May 2017. Photo by Penelope Kupfer.
[ART&CRITIQUE] Open Meeting. Arch 213 Homerton, 12 May 2017. Photo by Penelope Kupfer.
There are two main agenda items for this meeting, both will focus on self-organsiation and our intention to develop collaborative, cooperative and collective practices as part of our pedagogical remit.

In the first part of the meeting we will discuss our proposed research at LARC with a view to submit a proposal in early August 2017. The research is intended to help us learn from the organisational practices of the usergroups at LARC as well as the organisation as  whole. This is also an opportunity to discuss our broader research project on alternative art education, radical pedagogy and self-organisation. For an overview of this project please see our recent unsuccessful research proposal for a residency at MayDay Rooms. We will outline our research objectives, identify actions, distribute roles and compile a schedule.

In the second part of the meeting we will discuss our ongoing plan to distribute and rotate the work that sustains [ART&CRITIQUE]. We will discuss the jobs, guides and handover procedures. After a one-month handover process and one month to practice our jobs do we feel that have learned anything? Have we had enough experience to handover the job to someone else? Have we identified problems or ways of making improvements? Should we extend the rota period to 4 months with 1-month handover at either end? Do we need more training? What skills do we need training in? Should we organise a skill-sharing workshop?

Alternative Art Education, Co-operation & Co-ordination

Friday, 12 May 2017, 18:30 – 20:30
Arch 213, Ponsford Street, London E9 6JU, a railway arch next to Dark Arts Coffee
Overground: Hackney Central, Homerton
Free, booking not required

On Friday, 12 May 2017 we’re having an open meeting to lay the foundations of a new alternative art school, co-ordinate future projects and institute co-operative ways of working. If you’d like to get involved please join us! See below for the meeting agenda and if you’d like to add agenda items to the list please use the contact form to email them to us by 10 May 2017.

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.
Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.

AGENDA

1. Report on [ART&CRITIQUE] participation, accounts and current productive tasks.

2. Distribution of tasks that keep [ART&CRITIQUE] running as a collective project. Co-ordination of roles and hand-overs. If there are not enough people to undertake the tasks we will consider adopting a different structure (e.g. yearly membership) so that we can pay people to undertake the tasks.

3. Future [ART&CRITIQUE] projects: book club, art crawl, studio crit and new projects or one-off events and workshops.

4. Discuss plans for an alternative art school running a yearly programme beginning in September 2018. How would this work and how would the participants be recruited? Should we have an application form/procedure or should participants be invited? An open call is more transparent but then we have the problem of selection criteria and having to turn people down. If we invite people we can all invite one person, which is more egalitarian, but then the project risks becoming a clique. In terms of structure, the programme would be a peer support group, meeting 1-2 times per week. To begin, we could incorporate the three irregular [ART&CRITIQUE] events (exactly as they currently run, open to the public etc.) and add seminars, lectures and/or workshops with guest tutors/practitioners, organised by and for participants on the programme, who will be responsible for developing the format of the programme and running it over time. We need to discuss funding (to pay guest tutors and cover  expenses) and find a regular reliable and free venue if The Field doesn’t open again. Come with ideas for a name!

5. Plan to secure an empty building by negotiating a lease with the owners in exchange for maintaining the building. This would offer us a space from which to run all these projects, have exhibitions, run a cafe, workshops, courses, screenings and all manner of events for all ages to make an income to pay people and cover our expenses.

6. Start a workers’ co-op and create a transparent co-operative structure for all the above and any other projects that may develop over time, including an alternative art education network website to host organisations that offer alternative art education in the UK.

EVENT ARCHIVE

The Other MA (TOMA)[ART&CRITIQUE] ART CRAWL
Visit to TOMA in Southend-on-Sea
Sunday, 23 July 2017, 12:20-18:00
Meet 12:20pm at Southend Central Station, Southend-on-Sea SS1 1AB
Curated by Emma Edmondson

All welcome, please book your place

Tania Bruguera & Anri Sala [2005] Cátedra Arte de Conducta (Behavior Art School), Havana, Cuba.[SYMPOSIUM] BOOK CLUB
Bishop: Pedagogical Projects
Monday, 24 July 2017, 19:00–21:00
Guest Projects, 1 Andrews Road, London E8 4QL
Chaired by Renata Minoldo
Free, please book your place

OPEN MEETING[ART&CRITIQUE] OPEN MEETING
Self-organisation
14 July 2017
18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
All welcome, no need to book

[ARTCRAWL] #11[ART&CRITIQUE] ART CRAWL
Hampstead to Finsbury Park (via Mayfair)
Saturday, 24 June 2017, 14:00 -17:00
Starts 2pm at Freud Museum 20 Maresfield Gardens London NW3 5SX
Curated by Sophia Kosmaoglou
Free, booking not required

Kinki Club, Bologna. Photo courtesy Graziella Ronchi for Spaghetti Disco - Creare Spazio Alle Memorie 1975-85, Red Gallery, London, Oct 2016, curated by Lorenzo Cibrario[SYMPOSIUM] BOOK CLUB
Virno: The Dismeasure of Art
Friday, 9 June 2017, 18:00 – 20:00
Chaired by Rubén Salgado Perez
Tropics Café, Grow Elephant, New Kent Road, London SE17 1SL
Free, please book your place

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn[ART&CRITIQUE] OPEN MEETING
Alternative Art Education, Co-operation & Co-ordination
Friday, 12 May 2017
18:30 – 20:30
Arch 213, Ponsford Street, London E9 6JU
Free, booking not required

Claes Oldenburg [1964] Soft Light Switches. Vinyl filled with Dacron and canvas, 119.4 x 119.4 x 9.1 cm.[SYMPOSIUM] BOOK CLUB
Judd: Specific Objects
Friday, 21 April 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Richard Burger
Free, please book your place

Richard Giblett [2008] Mycelium Rhizome. Graphite on paper, 120 x 240 cm.[SYMPOSIUM] BOOK CLUB
Deleuze & Guattari: Rhizome
Friday, 10 March 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Katie Tysoe and Sophia Kosmaoglou
Free, fully booked

Piero Manzoni [1961] Artist's Shit (Merda d'artista). 90 tin cans, each filled with 30 grams faeces, 4.8 x 6.5 cm.[SYMPOSIUM] BOOK CLUB
Marx: The Fetishism of the Commodity and its Secret
Friday, 10 February 2017, 18:00 – 20:30
Wimbledon Art Studios, 10 Riverside Rd, London SW17 0BB
Chaired by Sophia Kosmaoglou
Free, please book your place

[ARTCRAWL]#10web[ART&CRITIQUE] ART CRAWL
Mayfair to Fitzrovia
Saturday, 28 January 2017
14:00 -17:00
Curated by Cristina Sousa Martínez
Free, booking not required

Wassily Kandinsky [1923] Circles in a Circle. Oil on canvas, 98.7 x 96.6 cm.[SYMPOSIUM] BOOK CLUB
O’Sullivan: The Aesthetics of Affect
Friday, 13 January 2017, 18:00 – 20:30
V22 Louise House, Dartmouth Rd, London SE23 3HZ
Chaired by Katie Tysoe
Free, please book your place

Penelope Kupfer [2015] Moth (detail). Ink on paper, 1654mm x 2054mm.[SYMPOSIUM] BOOK CLUB
Foucault: The Four Similitudes
Friday, 9 December 2016, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Penelope Kupfer
Free, please book your place

Johanna Kwiat [2016] Untitled. Digital image.[ART&CRITIQUE] STUDIO CRIT
Johanna Kwiat: Tampering
Saturday, 3 December 2016
14:00 – 1600
Studio, 19 Farquhar Road, London SE19 1SS
Free, please book your place

[ARTCRAWL] #9web[ART&CRITIQUE] ART CRAWL
Hampstead to Camden Town
Saturday, 26 November 2016
14:00 – 17:00
Curated by Katy Green
Free, booking not required

Josef Albers Preliminary class group critique. Bauhaus Dessau, 1928-29. Photo by Otto Umbehr.[ART&CRITIQUE] WORKSHOP
Critiquing the Crit
Saturday, 19 November 2016, 13:00 – 16:00
The Field, 385 Queens Road, London SE14 5HD
Led by Sophie Barr
£5, please book your place

Isa Genzken [1991] X-Ray. Gelatin silver print, 100 x 80 cm.[SYMPOSIUM] BOOK CLUB
Foster: Post-Critical?
Friday, 11 November 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Chaired by Dasha Loyko
Free, please book your place

[GALLERYCRAWL] #8[ART&CRITIQUE] GALLERY CRAWL
Camberwell to Peckham
Saturday, 29 October 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).[ART&CRITIQUE] STUDIO CRIT
Dasha Loyko: Autonomy and Critique
Saturday, 15 October 2016
15:00 – 17:00
The Field, 385 Queens Road, London SE14 5HD
Free, please book your place

Alain Badiou and Kerry W. Purcell have lunch in 2015.[SYMPOSIUM] BOOK CLUB
Badiou: Art & Philosophy
Friday, 14 October 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14 5HD
Chaired by Kerry W. Purcell
Free, please book your place

[GALLERYCRAWL] #7web[ART&CRITIQUE] GALLERY CRAWL
Mayfair to St James (via Soho)
Saturday, 24 September 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Last Year at Marienbad [1961] Dir. Alain Resnais. France-Italy, black & white, 94min.[SYMPOSIUM] BOOK CLUB
Sontag: Against Interpretation
Friday, 9 September 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14 5HD
Chaired by F. D.
Free, please book your place

[GALLERYCRAWL] #6[ART&CRITIQUE] GALLERY CRAWL
Mayfair to Fitzrovia
Saturday, 30 July 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required.

Jo Wolf [2016] DATA.0, 3/8. Acrylic on canvas, 5 x 5 inches.[ART&CRITIQUE] STUDIO CRIT
Jo Wolf: DATA
Saturday, 9 July 2016, 14:00 – 16:00
The Field, 385 Queens Road, London SE14 5HD
Free, please book your place

Paul Klee [1920] Angelus Novus. Oil transfer and watercolor on paper, 31.8 × 24.2 cm.[SYMPOSIUM] BOOK CLUB
Groys: Under the Gaze of Theory
Friday, 8 July 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou, Respondent Johanna Kwiat
Free, please book your place

[GALLERYCRAWL] #5 webflyer[ART&CRITIQUE] GALLERY CRAWL
Hackney to Shoreditch
Saturday, 25 June 2016
14:00 – 17:00
Curated by Dasha Loyko
Free, booking not required

Juno Ludovisi plaster cast. Junozimmer, Goethe Haus, Weimar. Photo NFG Library and KG Beyer, Weimar 1975, plate 8.[SYMPOSIUM] BOOK CLUB
Rancière: Problems & Transformations of Critical Art
Friday, 10 June 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Stephen Bennett
Part of Antiuniversity Now!
Free, please book your place

[GALLERYTOUR] #4 webflyer[ART&CRITIQUE] GALLERY WALK
Hackney to Shoreditch
Saturday, 4 June 2016
14:00 – 17:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #3 webflyer[ART&CRITIQUE] GALLERY TOUR
Hyde Park to Shadwell
Saturday, 14 May 2016
14:00 – 18:00
Curated by Penelope Kupfer
Free, booking not required

Raoul Hausmann [1919-20] The Art Critic. Lithograph and photographic collage on paper, 318 x 254mm.[SYMPOSIUM] BOOK CLUB
Sewell: Tate Triennial III
Friday, 13 May 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Richard Lloyd-Jones
Free, please book your place

[GALLERYTOUR] #2 web-flier[ART&CRITIQUE] GALLERY TOUR
Whitechapel to Liverpool Street
Saturday, 30 April 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Marcel Duchamp [1942] Behind Mile of String. First Papers of Surrealism, New York. Photo by Arnold Newman.[SYMPOSIUM] BOOK CLUB
Duchamp: The Creative Act
Friday, 8 April 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by F. D., Respondent Penelope Kupfer
Free, please book your place

Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.[ART&CRITIQUE] STUDIO CRIT
Maria Christoforatou: Displacement
Sunday, 20 March 2016
14:00 – 16:00
The Field, 385 Queens Road, London SE14
Free, please book your place

[GALLERYTOUR] #1 web-flier[ART&CRITIQUE] GALLERY TOUR
Hoxton to Mile End
Saturday, 19 March 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Lloyd, John Uri & Curtis Gates Lloyd [1884] Plate XXIII. A fresh rhizome of Cimicifuga racemosa. In Drugs and Medicines of North America. Cincinnati: Lloyd & Lloyd.[SYMPOSIUM] BOOK CLUB
Latour: On Actor Network Theory
Friday, 11 March 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Johanna Kwiat
Free, please book your place

[BOOKCLUB] #4 Barthes: The Death of the Author Friday, 12 February 2016, 6:00-8:30pm.[SYMPOSIUM] BOOK CLUB
Barthes: The Death of the Author
Friday, 12 February 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Henrietta Ross
Free, please book your place

Sherrie Levine [1980] Untitled (After Edward Weston). Gelatin silver print.[SYMPOSIUM] BOOK CLUB
Owens: The Discourse of Others
Friday, 8 January 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou
Free, please book your place

Omar Joseph Nasser Khoury [2011] Silk Thread Martyrs. Ccollection of 22 garments, each unique. Embroidered, fabric, coloured and dyed by hand using natural materials (indigo, tea).[SYMPOSIUM] BOOK CLUB
Abu-Lughod: Writing against Culture
Friday, 11 December 2015, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by OmarJoseph Nasser-Khoury
Free, please book your place

First page of An Answer to the Question: What is Enlightenment by Immanuel Kant, Berlinische Monatsschrift. Dec 1784, pp. 481-494.[SYMPOSIUM] BOOK CLUB
Kant: What is Enlightenment?
Friday, 13 November 2015, 6:00pm – 8:00pm
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou
Free, please book your place

STUDIO CRIT

Johanna Kwiat: Tampering

Saturday, 3 December 2016, 14:00–16:00
Studio, 19 Farquhar Road, London SE19 1SS
Rail/Overground: Crystal Palace, Gipsy Hill

In December we’re heading to Crystal Palace to view and discuss the work of Johanna Kwiat. After graduating from Anthropology at Goldsmiths College, Johanna studied Fine Art at Working Men’s College in London. She is based in London and currently works from ASC studios. Johanna is a co-founder partner of Art Brixton.

Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.
Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.

Most of my practice happens outside of the studio and/or gallery context. My practice is rooted in my everyday life. My work is a material or intellectual explosion culminating a long process of analyses or annoyingly circular thoughts, images and tensions. I work with mixed media, often with what I find available, and select that which is relevant to communicate my ideas. I have been preoccupied with themes of cultural myths of identity, gender and the autonomy of reason, as well as the nature of reality we live in and the possibility of circumventing its constraints. I think a lot about alienation (self and structurally imposed) and especially the persistent and seemingly universal need of private ownership, its relation with everyday violence, specifically the unseen, hidden or unspoken. I am interested in violence as an inherent quality of relationships. And yet my work is most of all an intimate history. I rework my story, parts of which I find echoed in others’ histories: imposed gender, gender roles, sexuality and forms of representation. I look at relationships between people, natural forms, signs of social aspiration and financial standing. I tamper with them. Acting out in social, public space is what interests me, and describes the way I work. I steal estate agents’ signs from real life locations. I invade an environment, space or context and question its familiar set-up.

Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents' signs, acrylic paint.
Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents’ signs, acrylic paint.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Untitled. Digital image.
Johanna Kwiat [2016] Untitled. Digital image.

An opportunity for artists, curators, designers, film-makers and other producers to present their work to an audience of peers for discussion and feedback.

This event is free and open to everyone. Please book your place. If you’d like to show your work please scroll down for more information and the event archive.

Please register to book your place
Fields marked with an * are required

Showing your work

STUDIOCRITS typically focus on the work of one artist at their studio or other appropriate venue. There is no standard format however, because everyone’s practice is different.

If you’re interested in showing your work at a STUDIOCRIT please download the infosheet and follow the directions to send us your proposal.

VENUE The venue will most likely be your studio. If you don’t have a studio don’t worry, we can find an alternative. You might have an exhibition on, you might show your work in your flat, community space or temporarily available space. The space needs to be appropriate for the display of your work with a capacity for about 10 people.

DATE & TIME We will set a date and time that is most convenient for you and your venue. Weekends and weekday evenings are convenient times for most people. The crit normally lasts two hours with a break in the middle. Please consider providing snacks and refreshments.

STRUCTURE Think about what work you would like to show and how you would like to structure and conduct the crit. We will discuss this and identify or develop a format that is suited to your work. Think about the practical or theoretical questions that you would like to raise, what aspects of your practice would you like to draw attention to and discuss?

DOCUMENTATION Please prepare a short bio and up to 6 images of your work for the website. This is to give potential audience members an idea of what your work, practice and/or research is about, attracting an audience with common interests. We will work together to present your work in the best possible way.

BIO Please prepare a short bio no longer than 250 words. This should outline your practice, background, education and what you are interested in exploring in the STUDIOCRIT, highlighting the topics and themes that you would like to address in the discussion.

IMAGES Choose up to 6 images that best represent the questions that you would like to raise about your practice. The maximum resolution for images is 923 pixels on the longest side, if in doubt and for the best results please send hi-res images. Please send captions with your images and include the title, date, materials and dimensions/duration for each one.

STATEMENT You might want to discuss an artist statement or application/proposal in conjunction with your work. Your statement should be no longer than 500 words, please print 15 copies and bring them along.

ARCHIVE
#01 Maria Christoforatou: Displacement▾

Sunday, 20 March 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.
Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.

Maria Christoforatou lives and works in London. Her practice is concerned with the unnerving relation between belonging and unbelonging examined through the notion of one’s home. Maria received her BA (Hons.) in Fine Art from the Athens School of Fine Arts (ASFA) in Greece and her MA in Painting/Fine Art from Wimbledon College of Arts, University of the Arts London. She recently graduated from Chelsea College of Arts, University of the Arts London with an MPhil in Fine Art Practice-based research. Her research focuses on narratives of home and displacement in contemporary art practice. She investigates experiences of displacement through the idea of home, where ‘home’ is identified, mediated and ‘re-made’ through media and materials of different kinds, and how objects both mediate for the artist and become agents of experience for the viewer.

Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
#02 Jo Wolf: DATA▾

Saturday, 9 July 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Based in London, Jo Wolf works conceptually with mixed media. Although her pieces result from an act of inquiry, the consequent material form is equally relevant to the idea. Coming from a DIY culture and maker’s background, Jo studied at Camberwell College then Central Saint Martin’s and after graduating in 2005, has maintained a pre-emerging position of artistic obscurity. From 2008 she took an interest in the cause alongside the impact of the economic crisis and responded by creating a limited collection of 3D design and 2D depictions of mass circulated imagery. Her recent series sees a return to abstract compositions.

DATA: a series of observations, measurements or facts. From Latin: dare to give.

The DATA series consists of two sets of eight canvases, entitled DATA.0 and DATA.1, which were inspired by a reading of ‘The Death of the Author’. Written in 1967, the French literary critic and theorist Roland Barthes proclaimed, ‘a text’s unity lies not in its origin but in its destination’, and that ‘It is language which speaks, not the author’. He states that ‘a text is … drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused and that place is the reader…’

Bathes offers a theory that informs our understanding of this realm of reading and interpretation. Applicable not only to the written text however, which is open to translation and elucidation, it is also considered in the reception of a work of art. Yet the visual text or artwork often conveys information through media with the omission of written language. Our understanding of art is affected by what we know and believe, a perception based on learned assumptions regarding taste, truth, beauty, status, experience, etc. The authority of a work of art and its meaning alters according to the context in which it appears and although artists may give a rationalized explanation of their work, the gap between words and what we see may not be completely settled.

In the art world, critics hold the strongest platform from which to deliver their views of the artwork, beyond the artist, yet their opinions often expand or contradict the original said intentions. This process of presentation and judgment begins in art school, in the critique. DATA tells an abstract tale of one experience of this process, it also raises questions about the role of the crit and the significance of the rhetoric.

DATA.0: Eight relatively small square paintings consisting of the basic elements of painting, in an aesthetically purified abstract form, question the conceptual relationship between the object/canvas, text/title and meaning.

DATA.1: Constructed from silks of unrestricted colours, the larger canvases mirror the geometric compositions of the first series and although removed from the realm of painting, pose the same questions.

#03 Dasha Loyko: Autonomy and Critique▾

Saturday, 15 October 2016, 3:00pm – 5:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

I am a London-based artist who is currently in the process of applying to MFA programmes. I was born in 1995 in Minsk, Belarus, and moved to the UK in 2009, at the age of 14. I am now in my third year of BSc in Philosophy at LSE. I received some formal art training in Minsk but have since practised independently and in the recent years my work has taken a much more conceptual turn. My research has been fuelled by the study of philosophy, critical theory and I have recently become fascinated by the notion of the abject. I work across a wide range of media and my practice could roughly be divided into two categories: institutional critique and the art driven by my preoccupation with human autonomy.

Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).
Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).

1. Autonomy

Through painting, video, sculpture and installation, I explore the relationship between subject and object. My departure point is the notion of the border of your own body. I am interested in the construction of psychological and physical barriers and in distancing yourself from the rest of the world as a necessary part of identity formation. Personal space, privacy, autonomy and the sense of your body as having definite borders, as being discontinuous from everything else around you, are some of the concerns which underpin my practice.

Some of the materials I choose to use, such as gloves or shower curtains, have a literal meaning as barriers but I also want them to evoke tactile associations. In the everyday life these are some of the things which are connected with disgust at touching something unpleasant, toxic, sticky, or wet. I want this tactility and also the scale of my work to act as a connecting link between the piece and the viewer, so that she can relate to it and measure it up against her own body.

A few worries arise: Do the tactile associations function in the same way for the audience as they do for me? Does the medium of painting divert the attention away from the conceptual issues and towards the formalist ones?

Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.

2. Critique

In my critical work I address the following questions: What does it mean for a work of art to be a success or a failure? What does it mean for text to be ‘about’ an artwork? How and why is an artwork legitimised through discourse? I reflect on the process of research and the constant chase after innovation. I also wonder whether addressing these worries should necessarily be branded as critique.

Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.
Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.

[SYMPOSIUM] BOOK CLUB

Bishop: Pedagogical Projects

Monday, 24 July 2017, 19:00–21:00
Guest Projects, 1 Andrews Road, London E8 4QL
Nearest Stations: Bethnal Green / Hoxton
Chaired by Renata Minoldo
Free, please book your place

A special edition of the book club at School of The Damned‘s Common Room, a week-long public programme of free educational workshops, talks and participatory events at Guest Projects (22-29 July 2017). We will be reading an essay on pedagogical partcipatory art projects from Claire Bishop’s book Artifical Hells (2012). This discussion will be chaired by Renata Minoldo from School of the Damned.

DOWNLOAD Claire Bishop (2012). Pedagogical Projects: How do you bring a classroom to life as if it were a work of art? In Artificial Hells, Participatory Art and Politics Spectatorship. London: Verso, pp. 241-274.

Tania Bruguera & Anri Sala [2005] Cátedra Arte de Conducta (Behavior Art School), Havana, Cuba.
Tania Bruguera & Anri Sala [2005] Cátedra Arte de Conducta (Behavior Art School), Havana, Cuba.
Artificial Hells, by Claire Bishop is a compendium of Participatory Art as a quite recent contemporary practice. It goes through the history of this medium and analyses from a critical and historical perspective its methodologies, processes and structures. In chapter 9 particularly, titled How do you bring a classroom to life as if it were a work of art? she focuses her attention to the most recent Participatory Projects and their main or more iconic examples, questioning the term participation as well and analysing the concept of art education in relation with participatory art, pedagogy and academic capitalism.

As I am currently member of an alternative art school, part of my interests have been focusing more and more into topics related with pedagogy, communities, education, participatory art and so does part of my practice.

Questions
How to give value to what is invisible, as the processes occurring on participatory art projects?
What is the relationship between art, education and performance?
What does Foucault mean with his notion of Parrhesia? (citing Irit Rogoff art an education revolve around Foucault’s Pnrreshia or free blatant public speech)
What is the difference in between Humanities and Social Sciences?
What is considered to be an Adornian understanding of art, according to Bishop?
Guattari says that we are on the brink of a new paradigm in which art is no longer beholden to capital. In this ethico-aesthetic paradigm, art should claim a key position of transversality with respect to other universes of value. Transversality for Guattari, denotes a militant, social, undisciplined creativity. Could we expand this concept of transversality according to Guattari?
What is to be considered as Pedagogical Aesthetics?
Bishop makes reference, in more than one occasion about Marxist and Post Marxist writing, Could you recommend bibliography to start approaching Marx for a beginner? And some introduction to Political Philosophy?

Renata Minoldo is an Argentinian based in Hackney, London. She has a BA in Fashion Design and studied Fine Arts at Uni and through going to museums and galleries, doing workshops, talking with friends, practising self education and doing crits. Her background involves visual arts and clothing. She has international working experience as a costume designer including London, New York and Buenos Aires. As a teaching artist she has facilitated art and clothing workshops for adults and children. She is also member of School of the Damned Class 2018 and is currently exploring alternative learning and teaching methods involving interdisciplinary practices.

Suggested further reading

Bourriaud, Nicolas (2002/1998). Relational aesthetics. Trans. Simon Pleasance, Fronza Woods, Mathieu Copeland. Dijon: Les presses du reel.

Freire, Paulo (2005/1968). Pedagogy of the Oppressed. New York: Continuum.

Guattari, Felix (1992). Chaosmosis: An Ethno-aesthetic Paradigm. Trans. Paul Bains and Julian Pefanis. Bloomington and Indianapolis: Indiana University Press.

Plant, Sadie (1992). The Most Radical Gesture: The Situationist International in a postmodern age. London: Routledge.

Rancière, Jacques (1991). The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. Trans. & Intro. Kristin Ross. Redwood: Stanford University Press.

Kedziorek, Aleksandra and Lukasz Ronduda (2014). Oskar Hansen-opening Modernism: On Open Form Architecture, Art and Didactics (Museum of Modern Art in Warsaw – Museum Under Construction). Warsaw: Museum of Modern Art.

Zmijewski, Artur and Oskar Hansen (2013). Open Form Film, Space, Interaction, and the Tradition of Oskar Hansen. New York: Sternberg Press.

Monthly free and open-access reading group for artists, researchers and anyone interested in the intersections between art practice and critical theory. Everyone can propose a text and chair the reading group. Participants are requested to book a place and download the shared document. Please scroll down for more information and an archive of previous events.

Please register to book your place
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Free & open access

The reading group is free and open to everyone who wants to join as long as they commit to the reading. Please register and arrive early, doors will close when we reach maximum capacity. Don’t forget to download the shared document and bring a hard-copy to the book club. Please consider leaving a small donation to cover our expenses and keep us going. Alternatively, you can donate via this link.

Discussion & decision-making

Texts are selected by group consensus on the basis that they reflect on the relationship between practice and theory. This includes a broad variety of texts, from philosophy to politics and aesthetics to science fiction – there is no limitation.

Chairing the book club

[SYMPOSIUM] is a supportive community of peers who discuss and unpack their research interests. All participants have the opportunity to chair the book club on a text of their choice. If you would like to chair the reading group, you can start preparing right now:

[1] Decide on a text that you want to discuss.

[2] Do some background research and write a short introduction to provide some context, from your own perspective. When was it written? Why was it written? Who wrote it? Was it a response to something else? Why are you interested in the text? How does it relate to, or inform, your practice or your research?

[3] Pace the reading. How long is the text? If it is short, can we discuss the entire text in a 2-hour book club? If the text is long you may need to divide it up between two or more sessions.

[4] Write down some questions that you would like to bring to the discussion. Suggest some further reading and an image or two, with captions.

[5] Download the infosheet and follow the directions to send us your proposal.


[SYMPOSIUM] ARCHIVE

 

#01 Kant: What is Enlightenment?▾

Friday, 13 November 2015, 6:00pm – 8:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

The reading for our first meeting on 13 November 2015 is a journal article published in 1784 by Immanuel Kant, titled An Answer to the Question: What is Enlightenment? This short article addresses the topics of autonomy and critique, founding concepts of the Enlightenment, which continue to shape our understanding of individual freedom and the role of art in society. Please read the text and bring it with you to the meeting, along with your questions or comments.

DOWNLOAD: Kant, Immanuel (1784). An Answer to the Question What Is Enlightenment? Berlinische Monatsschrift. Dec 1784, pp. 481-494.

What, then, is this event that is called the Aufklärung [Enlightenment] and that has determined, at least in part, what we are, what we think, and what we do today? (Foucault, Michel (1984). What is Enlightenment? In The Foucault Reader, Paul Rabinow ed. New York: Pantheon, pp. 32-50)

First page of An Answer to the Question: What is Enlightenment by Immanuel Kant, Berlinische Monatsschrift. Dec 1784, pp. 481-494.
First page of An Answer to the Question: What is Enlightenment by Immanuel Kant, Berlinische Monatsschrift. Dec 1784, pp. 481-494.

Kant’s article An Answer to the Question: What Is Enlightenment? was published in Berlinische Monatsschrift (an Enlightenment journal) in December 1784. It was one of many responses to a question in an article the previous year by Johann Friedrich Zollner. Zollner railed against the institution of civil marriage, an idea suggested in an earlier article by the journal’s editor Johann Erich Biester (September 1782). Biester claimed that associating marriage with religion was contrary to Enlightenment ideals. Zollner argued that marriage required the stability that only religion could provide. The very foundations of morality were being shaken, Zollner wrote, and cautioned against “confusing the hearts and minds of the people in the name of Enlightenment” (Steve Naragon and JF Zollner quoted in Kant, Immanuel (2013/1784). Beantwortung der Frage: Was ist Aufklärung? Trans and notes Daniel Fidel Ferrer. Creative Commons General Public License Attribution, Non-Commercial, version 3.0).

Suggested further reading

Foucault, Michel (1984). What is Enlightenment? In The Foucault Reader, Paul Rabinow ed. New York: Pantheon, pp. 32-50.

Foucault, Michel (2007/1979). What is Critique? In The Politics of Truth, intro John Rajchman, Sylvere Lotringer ed. Los Angeles: Semiotext(e), pp. 41-81.

Butler, Judith (2002). What is Critique? An Essay on Foucault’s Virtue. In The Political, David Ingram ed. Boston: Blackwell, pp. 212–228.

Adorno, Theodor & Max Horkheimer (2002/1947). Dialectic of Enlightenment. Philosophical Fragments. Trans Edmund Jephcott, Gunzelin Schmid Noerr ed. Stanford: Stanford University Press.

#02 Abu-Lughod: Writing against Culture▾

Friday, 11 December 2015, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

We have selected Writing against Culture (1991) by Lila Abu-Lughod for our second reading led by OmarJoseph Nasser-Khoury.

DOWNLOAD: Abu-Lughod, Lila (2006/1991). Writing against Culture. In Anthropology in Theory: Issues in Epistemology, Henrietta Moore and Todd Sanders ed. Oxford: Blackwell, pp. 466–479.

This is an academic text on the pitfalls of anthropological methods of research and analysis, which often construct generalised and over-simplified assumptions based on cultural difference. Abu-Lughod proposed three different strategies of “writing against culture” to counter ethnographic accounts of the time, which presented culture as something that is static, discrete, homogeneous and coherent, ignoring the cross-over between societies, social and cultural change, subjectivity and everyday contradictions.

Suggested further reading

Clifford, James and George Marcus ed. (1986). Writing Culture: The Poetics and Politics of Ethnography. School of American Research Advanced Seminar. Berkeley and Los Angeles, California: University of California Press.

Foucault, Michel and Gilles Deleuze (1977). Intellectuals and Power. In Language, Counter-Memory, Practice, ed. Donald F. Bouchard. Ithaca: Cornell University Press, pp. 205-217. PDF

Owens, Craig (1992). The Indignity of Speaking for Others: An Imaginary Interview. In Beyond Recognition, Berkley: University of California Press, pp. 259-262.

Owens, Craig (1983). The Discourse of Others: Feminists and Postmodernism. In The Anti-Aesthetic: Essays on Postmodern Culture. Seattle: Bay Press, pp. 57-82.

Omar Joseph Nasser Khoury [2011] Silk Thread Martyrs. Ccollection of 22 garments, each unique. Embroidered, fabric, coloured and dyed by hand using natural materials (indigo, tea).
Omar Joseph Nasser Khoury [2011] Silk Thread Martyrs. Ccollection of 22 garments, each unique. Embroidered, fabric, coloured and dyed by hand using natural materials (indigo, tea).
#03 Owens: The Discourse of Others▾

Friday, 8 January 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

Continuing with the themes of feminism and the other from last month, we are reading Craig Owens’ The Discourse of Others: Feminists and Postmodernism (1983). Owens explores the intersection of the feminist critique of patriarchy and the postmodernist critique of representation, in search for a way to conceive difference without opposition. His starting point is a definition postmodernism as a crisis of the cultural hegemony of the west. For Owens, postmodern cultural production is characterised by pluralism and indifference, with consequences for our sense of cultural identity. He considers the absence of discussions of sexual difference from postmodern texts alongside corresponding feminist and artistic critiques of representation. Led by Sophia Kosmaoglou

DOWNLOAD: Owens, Craig (1983). The Discourse of Others: Feminists and Postmodernism. In The Anti-Aesthetic: Essays on Postmodern Culture. Seattle: Bay Press, pp. 57-82.

Sherrie Levine [1980] Untitled (After Edward Weston). Gelatin silver print.
Sherrie Levine [1980] Untitled (After Edward Weston). Gelatin silver print.
Suggested further reading

Buchloh, Benjamin HD (1982). Allegorical Procedures: Appropriation and Montage in Contemporary Art. Artforum 21, no. 1 (September 1982), pp. 43–56.

Derrida, Jacques (1982). Sending: On Representation. Social Research Vol. 49, No. 2, Current French Philosophy (Summer 1982), pp. 294-326.

Crimp, Douglas (1982). Appropriating Appropriation. In Image Scavengers: Photography, Paula Marincola ed. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, pp. 27-34.

Foster, Hal (1986). Subversive Signs. In Recodings: Art, Spectacle, Cultural Politics. Seattle: Bay Press, pp. 99-118.

Mulvey, Laura (1999/1975). Visual Pleasure and Narrative Cinema. Film Theory and Criticism: Introductory Readings, Leo Braudy and Marshall Cohen eds. New York: Oxford University Press, pp. 833-844.

Owens, Craig (1992/1980). Allegorical Impulse: Toward a Theory of Postmodernism. In Beyond Recognition: Representation, Power, and Culture. Berkeley & Oxford: University of California Press, pp. 52-69. October 12 (Spring 1980), pp. 67-86.

Rosler, Martha (1981). In, Around, and Afterthoughts (On documentary photography). In Decoys and Disruptions: Selected Essays 1975-2001. Cambridge, MA: MIT Press, pp. 151-206.

Carl Sagan & Frank Drake [1972] Pioneer plaque. Two gold-anodized aluminium plaques placed aboard Pioneer 10 & Pioneer 11.
Carl Sagan & Frank Drake [1972] Pioneer plaque. Two gold-anodized aluminium plaques placed aboard Pioneer 10 & Pioneer 11.
#04 Barthes: The Death of the Author▾

Friday, 12 February 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

The text is a tissue of quotations drawn from the innumerable centres of culture… a text’s unity lies not in its origin but in its destination. (Barthes, 1977, pp. 146, 148)

Considering the reader, context, authority and authenticity this session will focus on Barthes’s 1967 essay The Death of the Author: its influence on a contemporary understanding of cultural production and the role of the individual with in it. Chaired by Henrietta Ross.

DOWNLOAD: Barthes, Roland (1977). The Death of the Author. In Image Music Text, Trans. Stephen Heath. London: Fontana, pp. 142-148.

[SYMPOSIUM] #4 Barthes: The Death of the Author, flyer.

Suggested further reading

Barthes, Roland (1993). Authors and Writers. In A Barthes Reader, Susan Sontag ed. New York: Vintage, pp. 185-193.

Benjamin, Walter (1986/1934). Author as Producer. In Reflections. New York: Schocken, pp. 220-238.

Burke, Sean (1998). Death and Return of the Author: Criticism and Subjectivity in Barthes. Edinburgh University Press.

Foucault, Michel (1977). What is an Author? Trans. Sherry Simon & Donald F. Bouchard. In Language, Counter-Memory, Practice, Donald F. Bouchard ed. Ithaca, New York: Cornell University Press, pp. 113-138.

Karshan, Thomas (2009). Deaths of the Authors. Frieze, Issue 125, September 2009.

Ranciere, Jacques (2007). The Emancipated Spectator. Artforum 45/7, March 2007, pp. 271-280.

Wuggenig, Ulf (2004). Burying the Death of the Author. Republicart.

#05 Latour: On Actor Network Theory▾

Friday, 11 March 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

The reading for March 2016 is an essay by Bruno Latour titled On Actor Network Theory (1990). This session will be chaired by Johanna Kwiat.

DOWNLOAD: Latour, Bruno (1996/1990). On Actor Network Theory: A few clarifications plus more than a few complications. Finn Olsen, Philosophia, Vol. 25, No. 3-4 (1996), pp. 47-64.

On Actor Network Theory is a spirited response to critics of Actor-Network Theory (ANT). Latour dispels misunderstandings about ANT, summarises its main premises and traces the consequences and stakes of this theory for our understanding of networks and semiotics. For Latour there is a radical incommensurability between the approach of ANT and the social sciences to the study of social systems. Sociology acknowledges the natural, social and semiotic character of human interaction but addresses these as separate categories. ANT proposes a methodology whereby investigators can unify these three categories by treating individual agents as natural, social and semiotic simultaneously, while at the same time contextualising them within inclusive networks that trace relationships between humans, animals, objects and signs.

ANT originates in the work of Michel Callon, Bruno Latour and John Law in the field of science and technology studies (STS), which explores the impact of society, politics and culture on scientific and technological development and vice versa. The first thing that the proponents of ANT like to point out is that it is not a theory, because it is descriptive rather than explicatory. Latour and Law describe it as a set of tools and methods used to describe the relationships between heterogeneous actors: humans, animals, objects and signs that generate networks of relationships.

Actor network theory is a disparate family of material-semiotic tools, sensibilities and methods of analysis that treat everything in the social and natural worlds as a continuously generated effect of the webs of relations within which they are located. It assumes that nothing has reality or form outside the enactment of those relations. Its studies explore and characterise the webs and the practices that carry them. Like other material-semiotic approaches, the actor-network approach thus describes the enactment of materially and discursively heterogeneous relations that produce and reshuffle all kinds of actors including objects, subjects, human beings, machines, animals, ‘nature’, ideas, organisations, inequalities, scale and sizes, and geographical arrangements. (Law, John (2008). Actor-network theory and material semiotics. In The New Blackwell Companion to Social Theory 3rd ed., Bryan S. Turner ed. Oxford: Blackwell, pp. 141)

The second thing that supporters of ANT like to point out is that it does not involve actors – because this implies human actors. They prefer to use the word actants. In fact, Latour says that “actant-rhyzome ontology” would be a more appropriate term (Latour, Bruno (2005). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press, p. 9).

Lloyd, John Uri & Curtis Gates Lloyd [1884] Plate XXIII. A fresh rhizome of Cimicifuga racemosa. In Drugs and Medicines of North America. Cincinnati: Lloyd & Lloyd.
Lloyd, John Uri & Curtis Gates Lloyd [1884] Plate XXIII. A fresh rhizome of Cimicifuga racemosa. In Drugs and Medicines of North America. Cincinnati: Lloyd & Lloyd.
Suggested further reading

Latour, Bruno (2005). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press.

Latour, Bruno (2005). From Realpolitik to Dingpolitik or How to Make Things Public. In Making Things Public: Atmospheres of Democracy, Bruno Latour and Peter Weibel eds. Cambridge: MIT Press/ZKM Karlsruhe.

Latour, Bruno (1993). We Have Never Been Modern, trans. Catherine Porter. Cambridge, MA: Harvard University Press.

Law, John (2008). Actor-network theory and material semiotics. In The New Blackwell Companion to Social Theory 3rd ed., Bryan S. Turner ed. Oxford: Blackwell, pp. 141–158.

Deleuze, Gilles and Félix Guattari (2004/1980). Introduction: Rhizome. In A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi. New York: Continuum, pp. 3-28.

DeLanda, Manuel (1992). Nonorganic Life. In Incorporations, Jonathan Crary & Sanford Kwinter ed. New York: Zone Books, pp. 128-167.

Serres, Michel (1982). Hermes: Literature, Science, Philosophy. Baltimore: Johns Hopkins University Press.

Kuhn, Thomas (1970/1962). The Structure of Scientific Revolutions. University of Chicago Press.

Eco, Umberto (1984). The Encyclopedia as Labyrinth. In Semiotics and the Philosophy of Language. London: Macmillan, pp. 80-83.

#06 Duchamp: The Creative Act▾

Friday, 8 April 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

In April we are reading Marcel Duchamp’s The Creative Act, a paper he presented in April 1957 at a session of the American Federation of Arts in Houston, Texas. Listen to a recording of this talk at UbuWeb. The discussion will be chaired by F. D. and Penelope Kupfer will contribute in the role of respondent.

DOWNLOAD: Duchamp, Marcel (1957). The Creative Act. Published in The New Art, Gregory Battock ed. New York: E. P. Dutton & Co. Inc. pp. 23-26.

Marcel Duchamp [1942] Behind Mile of String. First Papers of Surrealism, New York. Photo by Arnold Newman.
Marcel Duchamp [1942] Behind Mile of String. First Papers of Surrealism, New York. Photo by Arnold Newman.
Suggested further reading

De Duve, Thierry (1990). Authorship Stripped Bare, Even. RES: Anthropology and Aesthetics No. 19/20 (1990/1991), pp. 234-241.

Eliot, TS (1921). Tradition and the Individual Talent. In The Sacred Wood: Essays on Poetry and Criticism. New York: Alfred A. Knopf. Online version

Haladyn, Julian Jason (2015). On ‘The Creative Act’. Toutfait, 1 Apr 2015.

Kahneman, Daniel (2011). Thinking, Fast and Slow. New York: Farrar, Straus & Giroux.

Ranciere, Jacques (2009). The Emancipated Spectator, trans. Gregory Elliott. London: Verso.

Sontag, Susan (1961). Against Interpretation. In Against Interpretation and Other Essays, New York: Dell, pp. 3-14.

Koestler, Arthur (1975). The Act of Creation. London: Picador.

#07 Sewell: Tate Triennial III▾

Friday, 13 May 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

In May we will be reading a review of Tate Triennial 3 (2006) by Brian Sewell. This session will be chaired by Richard Lloyd-Jones.

DOWNLOAD: Sewell, Brian (2012/2006). Tate Triennial III. In Naked Emperors: Criticisms of English Contemporary Art. London: Quartet Books, pp. 101-105. Originally published Evening Standard March 10, 2006.

Raoul Hausmann [1919-20] The Art Critic. Lithograph and photographic collage on paper, 318 x 254mm.
Raoul Hausmann [1919-20] The Art Critic. Lithograph and photographic collage on paper, 318 x 254mm.

Brian Sewell recently died, aged 84 and until the last year of his life he wrote a weekly column in the Evening Standard. He was famous for his trenchant views on the art world and he was often very amusing. But – is a popular critique of art and exhibitions worth anything? Can such articles only amuse the reader and advertise popular exhibitions or do they have validity in contextualising the historical importance of the art? BS was at the epicentre of the debates about ‘public art’. He felt that the value of real artistic achievement was undermined by the development of ‘popular’ exhibitions, in particular at the Tate Galleries dominated by Sir Nicholas Serota and his acolytes, which Sewell called ‘the Serota Tendency’. Should national institutions aim solely at improving the quality of works in the collection or should they aim to reflect the art world today and popularise galleries with cafes shops and ‘outreach’ programmes? Did his scholarship give him the right to condemn some modern art – in particular conceptual art? Did his avowed prejudices, in particular his misogyny, invalidate his views on art in general? Is the new breed of curator becoming more influential than the academic?

#08 Rancière: Problems & Transformati…▾

Friday, 10 June 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, fully booked

For June we have selected Jacques Rancière’s essay Problems and Transformations of Critical Art. This discussion will be chaired by Stephen Bennett.

DOWNLOAD: Rancière, Jacques (2009/2004). Problems and Transformations of Critical Art. In Aesthetics and Its Discontents. Cambridge: Polity Press, pp. 45-60.

This event is part of Antiuniversity Now festival
9-12 June 2016
www.antiuniversity.org

Juno Ludovisi plaster cast. Junozimmer, Goethe Haus, Weimar. Photo NFG Library and KG Beyer, Weimar 1975, plate 8.
Juno Ludovisi plaster cast. Junozimmer, Goethe Haus, Weimar. Photo NFG Library and KG Beyer, Weimar 1975, plate 8.

If politics consists of distributing the sensible, then politics for Jacques Rancière turns out to have its own specific aesthetics. Likewise, aesthetics has its own specific politics. The problem of art for Rancière is not the clash between art and politics, but the clash between the politics internal to art’s own conditions of existence (its autonomy). Following Peter Bürger, Rancière describes this as a tension between formalist art (art’s withdrawal from the social) and political art (art’s dissolution within the social). Borrowing Theodor Adorno’s idea of the necessary interplay between autonomy and heteronomy in art, Rancière suggests that to be critical, art must negotiate between art and non-art. Hence, critical art “plays on the union and tension of different aesthetic politics… crossing the border between the world of art and the prosaic world of the commodity”. Following Walter Benjamin, Rancière proposes the collage as such a “third way”. In the second part of the essay, Ranciere elaborates on four different forms of heterogeneity in contemporary art: the game, the inventory, the encounter and the mystery. What are the consequences of this thesis for contemporary art practice? How does it re-frame traditional accounts of the transition from modernism to postmodernism? Why has Rancière been the most popular philosopher in the art world since Jean Baudrillard?

[SYMPOSIUM] BOOK CLUB #8 Rancière: Problems & Transformations of Critical Art, Friday 10 June 2016, 6:00-8:30pm.

Suggested further reading

Adorno, Theodor (2002/1970). Aesthetic Theory. Trans. Robert Hullot-Kentor. London: Continuum.

Benjamin, Walter (1969/1934). The Author as Producer. In Reflections, New York: Schocken, pp. 220-238.

Buchloh, Benjamin H. D. (1990). Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions. October 55, Winter 1990. Cambridge: MIT Press, pp. 105-143.

Bürger, Peter (2007/1974). Theory of the Avant-Garde. Minneapolis: University of Minnesota Press.

Ranciere, Jacques (2004). Politics of Aesthetics: The Distribution of the Sensible. London and New York: Continuum (includes a glossary of Ranciere’s terms in Appendix I, pp. 80-93).

#09 Groys: Under the Gaze of Theory▾

Friday, 8 July 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

In July we will be reading Boris Groys’ Under the Gaze of Theory (2012) on the uses and abuses of theory in art practice. This discussion will be chaired by Sophia Kosmaoglou with Johanna Kwiat in the role of respondent.

DOWNLOAD: Groys, Boris (2012). Under the Gaze of Theory. E-flux Journal #35, May 2012.

[SYMPOSIUM] #9 flyer

Boris Groys argues that theory is an unpopular and therefore ineffective form of advertisement for art. Theory for Groys is useful as a tool for artists to “explain what they are doing… to themselves”, to understand “what art actually is, and what the artist is supposed to do”. He begins with the premise that philosophical contemplation is a critique of art, while critical theory is in turn a critique of contemplation. For Groys the “true goal of every theory is to define the field of action we are called to undertake”. If theory is a call to action, then it is an accessory to, a precondition and vindication of practice. According to Groys, theory “calls for action that would perform – and extend – the condition of theory itself”. He claims that theory is not only informative but transformative, in other words we “perform theory” (something he distinguishes from “theory as propaganda”). Groys addresses the absence of criteria for judging the success and failure in art, with conclusions about the value of art and its role in society, life and revolution.

Is there a difference between theory generated by an external authority and theory generated by artists themselves? Does theory come before action, as Groys suggests, or does it come after action, with hindsight? What role does theory play in the creation of discourses on art, and thereby on the way we understand art?

Paul Klee [1920] Angelus Novus. Oil transfer and watercolor on paper, 31.8 × 24.2 cm.
Paul Klee [1920] Angelus Novus. Oil transfer and watercolor on paper, 31.8 × 24.2 cm.
Suggested further reading

Kant, Immanuel (1996/1784). An Answer to the Question What Is Enlightenment? In Immanuel Kant, Practical Philosophy. Cambridge: Cambridge University Press, pp. 17-22.

Barthes, Roland (1977). The Death of the Author. In Image Music Text. Trans. Stephen Heath. London: Fontana, pp. 142-148.

Benjamin, Walter (2003). Selected Writings, Volume 4: 1938-1940. Trans. Edmund Jephcott. Howard Eiland and Michael W. Jennings ed. Cambridge, MA: Harvard University Press.

Lacan, Jacques (1998/1973). Seminar XI. In The Four Fundamental Concepts Of Psycho-Analysis. Trans. Alan Sheridan, Jacques-Alain Miller ed. New York, London: Norton & Co.

Tarde, Gabriel de (1903). The Laws of Imitation. New York: H. Holt & Co.

Welsch, Wolfgang (1997). Undoing Aesthetics. Trans. Andrew Inkpin. London; Thousand Oaks: Sage Publications.

#10 Sontag: Against Interpretation▾

Friday, 9 September 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

In September we are reading Susan Sontag’s essay Against Interpretation. This discussion will be chaired by F. D.

DOWNLOAD: Sontag, Susan (1966). Against Interpretation. In Against Interpretation and Other Essays, New York: Farrar, Straus & Giroux, pp. 3-14.

Last Year at Marienbad [1961] Dir. Alain Resnais. France-Italy, black & white, 94min.
Last Year at Marienbad [1961] Dir. Alain Resnais. France-Italy, black & white, 94min.

Against Interpretation is a collection of critical essays written by Susan Sontag and published in book form in the early sixties in New York. It was her first collection of essays on the arts and contemporary culture and included an essay of the same title. The essay Against Interpretation was written within the context of 60’s America, when conceptual art was in its heyday and “theory” was paramount, she was among the first critics to write about the intersection between “high” and “low” art forms, giving them equal value as valid topics.

She argues that even at a time when most artists and critics had discarded the representational theory of art in favour of the idea that art was more about subjective expression, the main feature of the mimetic theory of art, i.e. that a work of art was assumed to be its content or that a work of art “says something”, was still dominant. However she states that in the 60‘s the idea of content is a hindrance and a nuisance.

Asking how this situation had come about she gives a historical reason claiming that over time form has become separated from content. She also claims that the over emphasis on the content of a work of art comes about through excessive interpretation which itself is designed to illustrate certain codes or rules of interpretation e.g. a Freudian or a Marxist analysis would have a bias towards that particular theory and that this bias then changes or transforms the text accordingly . Instead she believes that the function of criticism should be to show ”how art is what it is and that it is what it is rather than to show what it means”.

1/What is meant by “form” and “content”? Can they be separated?
2/What does Sontag mean by “interpretation”? A/ historically B/ in the present day when she says that “interpretation is the revenge of the intellect upon art” (Para. 4 p. 7).
3/ Does she believe that the artist’s intention is a valid indicator in the interpretation of the work concerned?
4/What does she mean by a “flight from interpretation”? (Para. 7 p. 10).
5/Is the idea of content being a hindrance still relevant today?
6/What are her proposals for desirable criticism of the arts?
7/What does Sontag mean by “an erotics of art”? (Para. 10 p. 14).

Suggested further reading

Wolfe, Tom (1975). The Painted Word. New York: Farrar, Straus and Giroux.

Foster, Hal (1986). Signs Taken for Wonders. Art in America 74/6, June 1986, pp. 80-89, 139.

Said, Edward (1984/1975). The Text, the World, the Critic. In The World, the Text and the Critic. London: Faber, pp. 31-53. Originally published in Bulletin of the Midwest Modern Language Association, Vol. 8, No. 2, Autumn, 1975, pp. 1-23.

Bordwell, David (1989). Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MASS: Havard University Press.

Buchloh, Benjamin (1982). Allegorical Procedures: Appropriation and Montage in Contemporary Art. Artforum 21, no. 1, September 1982, pp. 43–56.

Owens, Craig (1992/1980). Allegorical Impulse: Toward a Theory of Postmodernism. In Beyond Recognition: Representation, Power, and Culture. Berkeley & Oxford: University of California Press, pp. 52-69. October 12, Spring 1980, pp. 67-86.

Bazin, Andre. (2004). What is Cinema? (Volumes 1 & 2). Berkley: University of California Press.

#11 Badiou: Art & Philosophy▾

Friday, 14 October 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, fully booked

In October we’re reading Art & Philosophy, the first chapter of Alain Badiou’s Handbook of Inaesthetics, which links up with and extends our previous discussions of Jacques Ranciere, Boris Groys and Susan Sontag. This discussion will be chaired by Kerry W. Purcell.

DOWNLOAD: Badiou, Alain (2004). Art & Philosophy. In Handbook of Inaesthetics, trans. Alberto Toscano. Stanford: Stanford University Press, pp. 1-15.

Alain Badiou and Kerry W. Purcell have lunch in 2015.
Alain Badiou and Kerry W. Purcell have lunch in 2015.

Kerry is doing a PhD at Birkbeck on the role of ‘history’ in the development of Badiou’s thought. He will focus on the specificities of the Artistic Event (as opposed to the other Badiouian events of Science, Love and Politics). By ‘specificities’, Kerry means the phenomenological experience of undergoing such an event. Some of the Badiouian questions that emerge from this are:

What constitutes an artistic Event?
What does it mean (phenomenologically) as a ‘subject’ to experience such an Event?
How do we think “change” within art history?
By their very nature of being something radically new, are all artistic Events “abstract” (this is one of Badiou’s contention)?
How do artists/historians name what (the early) Badiou termed ‘infinity points’ in the historical discourse of art?
What happens when an artist betrays the ‘revelation’ offered by an epistemological rupture?
Following Badiou, how do we think ‘truth’ within art?

Suggested further reading

Shaw, Devin Zane (2007). Inaesthetics and Truth: The Debate between Alain Badiou and Jacques Ranciere. Filozofski vestnik Vol 28/2, pp. 183–199.

Tutt, Daniel (2011). Art and Philosophy in Badiou’s Handbook Of Inaesthetics.

#12 Foster: Post-Critical?▾

Friday, 11 November 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham
Free, please book your place

In November we’re reading Post-Critical? from Hal Foster’s collection of essays Bad New Days: Art, Criticism, Emergency (2015). This discussion will be chaired by Dasha Loyko.

DOWNLOAD: Foster, Hal (2015). Post-Critical? In Bad New Days: Art, Criticism, Emergency. London: Verso.

Isa Genzken [1991] X-Ray. Gelatin silver print, 100 x 80 cm.
Isa Genzken [1991] X-Ray. Gelatin silver print, 100 x 80 cm.

Hal Foster is an American art critic and historian. His essay ‘Post-Critical?’, originally published as a short article in The Brooklyn Rail in 2012, has been extended and included in his 2015 book ‘Bad New Days’. It is a contemporary text which addresses some pressing issues in the field of art criticism. Foster starts off by historically assessing the negative change of attitude towards criticality, from the distrust of the elitist and out-of-touch critic to the need for affirmation in the post-9/11 age. He then goes on to assess the arguments proposed by Bruno Latour and Jacques Ranciere against criticism, which builds up on our previous discussions, and to raise contemporary social issues which call for a return of criticality.

Questions:
– What does Foster mean by his distinction of pluralism and relativism? p.1
– Is he right that the attack on pluralism as ‘derealising’ culture was based on a misunderstanding of pluralism? p.2
– Does he effectively destroy Latour’s and Ranciere’s arguments by accusing them of circularity? p.3-4
– Is he right that our desire for a more positive critic is based on fetishisation and animation of art? p.5
– What is antifetishist critique? p.6
– What does he mean when he says that participatory art is a compensation for the loss of critique? p.8
– What is the relationship between the public sphere, critique and citizenship? p.9

Suggested further reading:

Bruno Latour, On the Modern Cult of the Factish Gods (Durham, NC: Duke University Press, 2010)

Peter Sloterdijk, Critique of Cynical Reason, trans. Michael Eldred (Minneapolis: University of Minnesota Press, 1987)

Jürgen Habermas, The Structural Transformations of the Bourgeois Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence (Cambridge, MA: MIT Press, 1989)

Michael Newman, “The Specificity of Criticism and Its Need for Philosophy”, in The State of Art Criticism (London: Routledge, 2007)

Bruno Latour, “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern”, Critical Inquiry 30 (Winter 2004)

Jacques Rancière, Aesthetics and Its Discontents, trans. Steven Cochran (Cambridge: Polity Press, 2009)

Jacques Rancière, The Emancipated Spectator, trans. Gregory Elliott (London and New York: Verso, 2009)

#13 Foucault: The Four Similitudes▾

Friday, 9 December 2016, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Rail/tube: City Thameslink, Blackfriars, St. Paul’s
Free, please book your place

In December we will be reading The Four Similitudes from The Order of Things by Michel Foucault (1970/1966). This discussion will be chaired by Penelope Kupfer.

DOWNLOAD: Foucault, Michel (1970/1966). The Four Similitudes. In The Order of Things: An Archaeology of the Human Sciences. New York: Random House, pp. 17-25. Originally published in 1966 as Les Mots et les Choses [Words and Things] by Gallimard.

Penelope Kupfer [2015] Moth (detail). Ink on paper, 1654mm x 2054mm.
Penelope Kupfer [2015] Moth (detail). Ink on paper, 1654mm x 2054mm.

In The Order of Things, Foucault connects the history of knowledge with the analysis of language and questions about aesthetics. In his foreword he says that he aims the book to be read as a comparative study where he puts side by side, elements such as the knowledge of living beings, the knowledge of the laws of language, and the knowledge of economic facts. Especially in the essay The Four Similitudes, he analyses the way people in the 16th century understood the world through resemblance and defines four kinds set in a philosophical context.

To search for a meaning is to bring to light a resemblance. To search for the law governing signs is to discover the things that are alike. The grammar of beings is an exegesis of these things. And what the language they speak has to tell us is quite simply what the syntax is that binds them together. The nature of things, their coexistence, the way in which they are linked together and communicate is nothing other than their resemblance (Foucault, 1970, p. 29)

1. What is the difference between resemblance and representation?

2. Are we still relying on resemblance to understand the world (or parts of it) today?

3. Can the four similitudes be seen as pillars of knowledge in the 16th century?

Benjamin Prud'homme [2004] Diversity of wing pigment patterns in Drosophila.
Benjamin Prud’homme [2004] Diversity of wing pigment patterns in Drosophila.
#14 O’Sullivan: The Aesthetics of Affect▾

Friday, 13 January 2017, 18:00 – 20:30
Louise House, Dartmouth Rd, London SE23 3HZ
Rail/Overground: Forest Hill
Free, fully booked

In January 2017 we will be reading The Aesthetics of Affect by Simon O’Sullivan (2001). This discussion will be chaired by Katie Tysoe.

DOWNLOAD: O’Sullivan, Simon (2001). The Aesthetics of Affect: Thinking Art Beyond Representation. Angelaki, Journal of the Theoretical Humanities, Vol. 6, No. 3, pp. 125-135.

Wassily Kandinsky [1923] Circles in a Circle. Oil on canvas, 98.7 x 96.6 cm.
Wassily Kandinsky [1923] Circles in a Circle. Oil on canvas, 98.7 x 96.6 cm.

Simon O’Sullivan is a theorist working at the intersection of contemporary art practice, performance and continental philosophy. The text is one of his first discussions that addresses artistic practice within an emerging and growing field of affect theory – that is an interdisciplinary investigation into what makes up experience and subjectivity. He reignited the debate between materialism and idealism within philosophy, otherwise seen as the debate between matter and mind, and applied this critical debate to the realm of aesthetics. O’Sullivan addresses a philosophically materialist thinking of our connection to the world by way of critiquing representation and art historical narratives. For him, aesthetics holds certain value for how we experience art. By reassigning a function and value to art through affect, it can become a portal to the sensational and perceptive, which, for O’Sullivan acts as an ethical imperative for both our experience with art and the world in which we encounter it.

My own interest in the text stems from an fascination with the sonic arts and situating sonic practice within a wider artistic field. Recent texts (Seth Kim-Cohen, Barrett) have tried to theorise sound as beyond materiality within the arts in order to reinstall a conceptual theorisation of our experience as representational. This basis is formed through linguistic and textual narratives with an orientation of ideas over matter. However, as I would like to discuss, how can we explore art and thus our experience of it in a way that reimagines how we are being in the world? How is sound particularly effective at enabling this access?

– Does art have a specific function or use that makes it important? P125

– Does O’Sullivan effectively address the representational within art through his critique of Marxist and Deconstructive accounts of art history? P125-126

– How do ‘affects’ relate to our own experiences with an artwork or art practice? P126

– Is experience central to our encounter with a work of art? P126

– Is the art object no longer useful at explaining our relation to art within contemporary practice? Should art be considered more like an ‘event’ or ‘zone’? p127

– Why is the production of subjectivity important for O’Sullivan? P128

– By restoring aesthetics and therefore affects to art, does O’Sullivan present an ethical dimension through his recourse to subjectivity? P129

– Can art enable us to reimagine our place and connection to the world? Is O’Sullivan theorizing art in a way that it bears a lot of responsibility? P129-130

#15 Marx: Fetishism of the Commodity▾

Friday, 10 February 2017, 18:00 – 20:30
Wimbledon Art Studios, 10 Riverside Rd, London SW17 0BB
Rail/Underground: Earlsfield, Tooting Broadway
Free, please book your place

In February we’re reading The Fetishism of the Commodity and its Secret, from Karl Marx’s Capital: A Critique of Political Economy, first published 1867 in Hamburg. This discussion will be chaired by Sophia Kosmaoglou.

DOWNLOAD: Marx, Karl (1976). The Fetishism of the Commodity and its Secret. In Capital: A Critique of Political Economy, Vol. 1. Trans. Ben Fowkes. Harmondsworth: Penguin & New Left Review, pp. 163-177.

“Fetishism” is about relations among people, rather than the objects that mediate and disguise those relations. (MacGaffey, 1994, pp. 130)

The Fetishism of the Commodity and its Secret is the fourth and final section of the first chapter on The Commodity, the keystone of Marx’s critique of the capitalist mode of production. The section on commodity fetishism provides a way to think about the commodity status of art and the concept of reification more broadly.

Piero Manzoni [1961] Artist's Shit (Merda d'artista). 90 tin cans, each filled with 30 grams faeces, 4.8 x 6.5 cm.
Piero Manzoni [1961] Artist’s Shit (Merda d’artista). 90 tin cans, each filled with 30 grams faeces, 4.8 x 6.5 cm.

A fetish is a man-made object that has been invested with certain properties and power. The object is thus perceived to be animated with power and influence. In fact, these properties have been transferred to the object by humans (producers or users), who lose their own power in the process. Marx uses the metaphor of the fetish to demonstrate that humans misperceive the social relations between people in their labour as ‘material relations between persons and social relations between things’ (Marx, 1976, p. 166).

The concept of commodity fetishism can therefore be applied to other forms of reification, where abstract concepts are objectified in physical things that are considered to have intrinsic value.

The savages of Cuba regarded gold as a fetish of the Spaniards. They celebrated a feast in its honour, sang in a circle around it and then threw it into the sea… in order to save the human beings (Marx, 1975/1842, pp. 262-263)

Nkonde. Yombe people, Lower Zaire. Wood, nails, wooden spear and fabric. Height 97cm. Musee Barbier-Mueller, Geneva.
Nkonde. Yombe people, Lower Zaire. Wood, nails, wooden spear and fabric. Height 97cm. Musee Barbier-Mueller, Geneva.

Marx was well acquainted with the fetish since the early 1840s and had written about it on numerous occasions as he developed the ideas that would later be published in Capital.

Fetishism is so far from raising man above his sensuous desires that, on the contrary, it is “the religion of sensuous desire”. Fantasy arising from desire deceives the fetish-worshipper into believing that an “inanimate object” will give up its natural character in order to comply with his desires. Hence the crude desire of the fetish-worshipper smashes the fetish when it ceases to be its most obedient servant. (Marx, 1975/1842, p. 189)

The word “fetish” dates back to the 16th century and according to William Pietz, the fetish “could originate only in conjunction with the emergent articulation of the ideology of the commodity form”, defining itself “within and against the social values and religious ideologies of two radically different types of noncapitalist society, as they encountered each other in an ongoing cross-cultural situation” (Pietz, 1985, p. 7). In fact the nails hammered into N’kondi power figures (or nail fetishes) in the Kongo were often mass produced in the west.

Fetish market in Lomé, Togo. Photo by Torsten Lenk, 2012.
Fetish market in Lomé, Togo. Photo by Torsten Lenk, 2012.

The fetish is supremely phoney – and quintessentially too, according to the etymology of the word, coined in Portuguese from feitiço, meaning ‘artificial’. (Nancy, 2004, p. 142)

What is the secret of the commodity?
What is a commodity?
How do we judge the value of a commodity?
What is value? Where does it come from?
Is art a commodity?
How do we judge the value of art?
Does an artwork have intrinsic value? Do commodities?
How does Marx’s concept of value relate to the way we value art?

Suggested further reading

Baudrillard, Jean (1981). For a Critique of the Political Economy of the Sign. Trans & intro Charles Levin. St. Louis, MO: Telos Press.

Beech, Dave (2015). Art and Value: Art’s Economic Exceptionalism in Classical, Neoclassical and Marxist Economics. Boston MA: Brill.

Debord, Guy (1994/1967). Society of the Spectacle. New York: Zone Books.

Derrida, Jacques (1994). Spectres of Marx. London: Routlege.

Diederichsen, Diedrich (2008). On (Surplus) Value in Art. Berlin, Rotterdam: Sternberg Press and Witte de With.

Fried, Michael (1998). Art and Objecthood. In Art and Objecthood. Chicago and London: University of Chicago Press, pp. 148-172.

Groys, Boris (2010). Marx After Duchamp, or The Artist’s Two Bodies. e-flux journal #19 10/2010.

Jorn, Asger (2002/1959). Value and Economy. In The Natural Order and Other Texts, trans. Peter Shield. Burlington, VT: Ashgate, pp. 119-217.

MacGaffey, Wyatt (1994). African objects and the idea of fetish. RES: Anthropology and Aesthetics No. 25 (Spring 1994), pp. 123-131.

Martin, Stewart (2007). The Absolute Artwork Meets the Absolute Commodity. Radical Philosophy, 146 (Nov/Dec 2007), pp. 15-25.

Marx, Karl (1975/1842). The Leading Article in No. 179 of the Kölnische Zeitung. In Karl Marx and Frederick Engels, Collected Works, vol. 1. London: Lawrence and Wishart, pp. 184-202.

Marx, Karl (1975/1842). Debates on the Law on Thefts of Wood. In Karl Marx and Frederick Engels, Collected Works, vol. 1. London: Lawrence and Wishart, pp. 224-263.

Marx, Karl (1904/1859). A Contribution to the Critique of Political Economy. Trans. Nahum I. Stone. London: International Library.

Marx, Karl (1976/1867). The Commodity. In Capital: A Critique of Political Economy, Vol. 1. Trans. Ben Fowkes. Harmondsworth: Penguin Books and New Left Review, pp. 125-177.

Nancy, Jean-Luc (2004). The Two Secrets of the Fetish. Journal of Visual Art Practice, Vol. 3 No. 2, 2004, pp. 139-147.

Pietz, William (1985). The Problem of the Fetish, I. RES: Anthropology and Aesthetics No. 9 (Spring 1985), pp. 5-17.

Pietz, William (1993). Fetishism and Materialism: the Limits of Theory in Marx. In Fetishism as Cultural Discourse, Emily Apter and William Pietz eds. Ithaca, NY: Cornell University Press, pp. 119-151.

Sholette, Gregory (2011). Dark Matter: Art and Politics in the Age of Enterprise Culture. London: Pluto Press.

Zimmerman, Dan (2012). Art as an Autonomous Commodity within the Global Market. Art & Education, May 3, 2012.

#16 Deleuze & Guattari: Rhizome▾

Friday, 10 March 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Rail/tube: City Thameslink, Blackfriars, St. Paul’s
Free, fully booked

In March we’re reading Rhizome, the introduction to A Thousand Plateaus: Capitalism and Schizophrenia (1980) by Gilles Deleuze and Felix Guattari. Rhizome was first published in 1976 by Éditions de Minuit. This discussion will be chaired by Katie Tysoe and Sophia Kosmaoglou.

DOWNLOAD: Deleuze, Gilles and Félix Guattari (2004/1980). Rhizome. In A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi. New York: Continuum, pp. 3-28.

Sylvano Bussoti [1980] XIV piano piece for David Tudor 4. In A Thousand Plateaus: Capitalism and Schizophrenia. New York: Continuum, p.3.
Sylvano Bussoti [1980] XIV piano piece for David Tudor 4. In A Thousand Plateaus: Capitalism and Schizophrenia. New York: Continuum, p.3.

With rhizome, Deleuze and Guattari propose a theory of knowledge that privileges connectivity, heterogeneity and multiplicity. The rhizome is a centreless network, where every node connects with every other in a subterranean and horizontal fashion, allowing multiple, non-hierarchical entry points. Deleuze and Guattari compare the rhizome with it’s opposite; the binary, vertical, linear and hierarchical model of knowledge represented by the tree (tree of life, tree of knowledge). The rhizome, on the other hand “ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles” (Deleuze and Guattari, 2004/1980, p. 7).

Richard Giblett [2008] Mycelium Rhizome. Graphite on paper, 120 x 240 cm.
Richard Giblett [2008] Mycelium Rhizome. Graphite on paper, 120 x 240 cm.

Rhizome fulfills its introductory role by demonstrating that A Thousand Plateaus does not work like most other books. For example, it doesn’t have to be read from start to end, you can start in the middle.

A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo (Deleuze and Guattari, 2004/1980, p. 25)

Why do artists have a affinity with Deleuze and Guattari, and particularly with this book?

Haeckel, Ernst (1866). General Morphology of the Organisms. Berlin Reimer.
Haeckel, Ernst (1866). General Morphology of the Organisms. Berlin Reimer.
#17 Judd: Specific Objects▾

Friday, 21 April 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Rail/tube: City Thameslink, Blackfriars, St. Paul’s
Free, please book your place

In April we’re reading Specific Objects, a controversial essay by Donald Judd, originally published in 1965. This discussion will be chaired by Richard Burger. Please note that in April the book club is on the third Friday of the month (not on the second Friday as usual).

Claes Oldenburg [1964] Soft Light Switches. Vinyl filled with Dacron and canvas, 119.4 x 119.4 x 9.1 cm.
Claes Oldenburg [1964] Soft Light Switches. Vinyl filled with Dacron and canvas, 119.4 x 119.4 x 9.1 cm.

DOWNLOAD: Judd, Donald (1965). Specific Objects. Originally published in Contemporary Sculpture: Arts Yearbook 8. Intro. William Seitz. New York: Art Digest, pp. 74–82. Reprinted in Judd, Donald (1975). Complete Writings 1959-1975. Nova Scotia: Press of the Nova Scotia College of Art and Design & New York: New York University Press, pp. 181–189. The download is a transcript via Art, Technology and Culture Colloquium, University of California, Berkeley.

Specific Objects is considered an important text by Donald Judd, wherein he describes the ‘new art’ produced in New York during the 1960s, and tries to distinguish it from ‘old’ painting or sculpture. He makes particular reference to new materials that had not until then been considered suitable for ’art’, and illustrates his point.

Judd is considered an icon of American art, for his practice, his writing and the Chinati Foundation in Marfa, West Texas, where all the artists he admired have permanent installations that have made Marfa a required pilgrimage for art world participants in the USA. His influence can still be seen today in the institutions in the US as well as among artists, gallerists and curators.

This article is sometimes seen as a ‘manifesto’ for the minimalists. Others see it just as a list of artists that Judd likes. It is said that specific objects refer to art that is fabricated or manufactured and therefore an ‘object’. Is this what links the artists listed in the article?

Is it better to have an artist reviewing artists or do they tend to be biased towards other artists that reflect their own practice?

Judd’s writing tends to describe artwork in a very matter of fact practical way. Does this help our understanding of art?

To be an artist today do we all need a manifesto?

Donald Judd [1963] Untitled. Oil and plywood with iron pipe, 56.2 x 115.1 x 77.5 cm.
Donald Judd [1963] Untitled. Oil and plywood with iron pipe, 56.2 x 115.1 x 77.5 cm.
Suggested further reading

Donald Judd (1975). Complete writings 1959-1975. Halifax & New York: Press of Nova Scotia College of Art and Design.

Robert Morris (1995/1966). Notes on Sculpture. In Minimal Art, Gregory Battock Ed. London: University of California Press, pp. 222-235. Originally published in Artforum, Part 1 (February 1966), Part 2 (October 1966), Part 3: Notes and Non Sequiturs (Summer 1967), Part 4: Beyond Objects (April 1969).

Judd Foundation. Objects.

Richard Shiff (2004). Judd through Oldenburg. Tate Papers No. 2, Autumn 2004.

#18 Virno: The Dismeasure of Art▾

Friday, 9 June 2017, 18:00 – 20:00
Tropics Café, Grow Elephant, New Kent Road, London SE17 1SL
Rail/tube: Elephant & Castle, Bus: 53, 63, 133, 155, 168, 171, 172,  196, 333, 363, 415, 453
Free, please book your place

In June we’re reading The Dismeasure of Art, an interview with Paolo Virno, originally published in 2009. This discussion will be chaired by Rubén Salgado Perez and will take place at Tropics Café, Grow Elephant in Elephant & Castle.

DOWNLOAD Sonja Lavaert & Pascal Gielen (2011/2009). The Dismeasure of Art: An interview with Paolo Virno. In Community Art: The Politics of Trespassing. Amsterdam: Valiz, 2011 . Originally published in Open! #17 A Precarious Existence, 1 Nov 2009. SKOR Foundation Art and Public Space, Amsterdam.

Club in Bologna called Kinki, photography courtesy of Graziella Ronchi for the exhibition Spaghetti Disco - Creare Spazio Alle Memorie 1975/85 at Red Gallery, London Oct 2016. ‘Spaghetti Disco’ was coproduced by Red Gallery/Kamio, and curated by London based Italian journalist Lorenzo Cibrario. The exhibition was supported by the printspace and GFsmiths.
Club in Bologna called Kinki, photography courtesy of Graziella Ronchi for the exhibition Spaghetti Disco – Creare Spazio Alle Memorie 1975/85 at Red Gallery, London Oct 2016. ‘Spaghetti Disco’ was coproduced by Red Gallery/Kamio, and curated by London based Italian journalist Lorenzo Cibrario. The exhibition was supported by the printspace and GFsmiths.

Paolo Virno, in The Dismeasure of Art (2009), an interview made by Sonja Lavaert and Pascal Gielen, addresses the concept of ‘common’ from the perspective of what he calls ‘the crisis of the unit of measure’. Virno thinks that the experience of avant-garde art is also “one of disproportion and of ‘excess’, of lack of moderation”. Avant-garde art is for him a clear sample of this disproportion rooted in the mass-production dynamic of Post-Fordism. With the avant-garde, art forms are showing new ways of feeling and living. The exploration of new forms in the avant-garde is like exploring a new public sphere with new standards to understand society.

Virno suggests that the common ground of society and art is about exploring new structures, new rules where the political and the aesthetic meet. He thinks that ‘general’ (or ‘common’) is a concept frequently confused with ‘universal’ in the fields of both art and philosophy. It would be very interesting to find out whether the common ground between art and politics could be understood here as a matter purely about form or whether it is also about content.

In this text, Virno explains on the one hand, how avant-garde art forms escape any proportional measure in the same way that the mass-production of goods in neo-capitalism. They both here have their own ungraspable grammar. On the other hand, the ‘common’ is not only something that occurs only “in between” two individuals but it is previous to the individual (as well). He asserts that the individual is a result of a movement that comes from the general under the jurisdiction of an ‘individuation principle’. The model for the ‘common’ that Paolo Virno uses is ‘language’, “which only exists within a community and that cannot exist apart from the community” (Virno, 2009:3). When language is the main tool for organizing, everything becomes aesthetic. The boundaries between aesthetics and policy are blurred because both are related with two forms of organization: the institutional and the police order.

This dismeasure is what Virno tries to explain when asserting that reality is aesthetic and everything is a matter of defining concepts. When language is dismeasure, what happens with communication? In a way, neo-capitalism, as any other form of domination in history, crystallises our possibility for autonomy. When a wrong is visible, it is because hierarchical structures cannot assume the task of addressing equality.

Gonzalo Borondo’s installation for the solo Exhibition ‘Animal’ at Gallery 50, Redchurch St., London, March 2015. ‘Animal’ was curated by Rom Levy, founder of RexRomae and co-curator Charlotte Dutoit from JustKids.
Gonzalo Borondo’s installation for the solo Exhibition ‘Animal’ at Gallery 50, Redchurch St., London, March 2015. ‘Animal’ was curated by Rom Levy, founder of RexRomae and co-curator Charlotte Dutoit from JustKids.

My question for this symposium is twofold:

How can an arts organization articulate its institutional structure in order to fertilize the soil of a ‘becoming’ equal community?

How can the public be addressed if this has been rooted in a ‘real’ common space?

Guy Debord, Michele Bernstein and Asger Jorn of the Situationist International, 1960. All that was once directly lived has become mere representation. Courtesy: Verso.
Guy Debord, Michele Bernstein and Asger Jorn of the Situationist International, 1960. “All that was once directly lived has become mere representation” (Guy Debord, Society of the Spectacle). Courtesy: Verso.

Suggested further reading

Bataille, G. (1991) The Accursed Share, Volume 1: Consumption. New York; Zone Books.

Bataille, G. (2004) The Unfinished System of Nonknowledge. Minneapolis; University of Minessota Press.

Badiou, A. (2005) Metapolitics. London; Verso.

Benjamin, W. (2008) The Work of Art in the Age of Mechanical Reproduction. London; Penguin.

Bennett, T. (2013) Making Culture, Changing Society. London; Routledge.

Boltanski, L. and E. Chiapello (2005) The New Spirit of Capitalism. London; Verso.

Bourdieu, P. (1997) Language & Symbolic Power. Cambridge; Polity.

Choi et al. (Eds.) (2014) Cluster: Dialectionary. London; Sternberg Press.

Foucault, M. (1972) The Archaeology of Knowledge. London; Tavistock Publications.

Fraser, A. (2006) A museum is not a business, it is run in a businesslike fashion. In Möntmann, N. (Eds.), Art and Its Institutions: Current Conflicts, Critique and Collaborations. London; Black Dog Publishing.

Laclau, E. & Mouffe, C. (2001) Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London; Verso.

Latour, B. (1999) ‘Give me a laboratory and I will rise the world’. In Mario Biagioli (ed.) The Science Studies Reader. New York & London; Routledge.

Lemke, T. (2001). ‘The birth of bio-politics: Michael Foucault’s lectures at the College de France on neo-liberal governmentality’ v.30 in Economy and Society.

Negri, A. Gielen, P. and Lavaert, S. (2009) Art and Common: A conversation with Antonio Negri. In De Bruyne, P. and Gielen, P. (Eds.), Community Art: The Politics of Trespassing. Amsterdam; Valiz.

Rancière, J. (1999) Dissagrement: Politics and Philosophy, Minneapolis, MN and London: University of Minessota Press.

Rancière, J. (2004a) The Politics of Aesthetics: the distribution of the sensible. London; Continuum.

Rancière, J. (2004b) Is there a Deleuzian aesthetics?, [Online]

Sheikh, S. (2006) The Trouble with Institutions, or, Art and Its Publics. In Möntmann, N. (Eds.), Art and Its Institutions: Current Conflicts, Critique and Collaborations. London; Black Dog Publishing

Virno, P. (2004) A Grammar of the Multitude. Cambridge. MIT Press.

‘Alice and Vladimir have tea in wonderland’. Anonymous, Photoshop.
‘Alice and Vladimir have tea in wonderland’. Anonymous, Photoshop.

ART CRAWL

Visit to TOMA in Southend-on-Sea

23 July 2017, 12:20-18:00
Meet 12:20pm at Southend Central Station, Southend-on-Sea SS1 1AB
Curated by Emma Edmondson

All welcome, please book your place

The Other MA (TOMA)

In July we’ve been invited on an excursion to visit The Other MA (TOMA), a 12-month alternative art education model based at Metal Art School in Southend-on-Sea. Join us for a walking tour across the cultural landscape of Southend-on-Sea with the expert guidance of Emma Edmondson, founder and coordinator of TOMA. We will visit Focal Point Gallery and The Old Waterworks, Metal Culture – home of Metal Art School and TOMA – culminating the tour at TOMA artists’ studios. 

The suggested travel route to Southend Central is via the C2C line from London Fenchurch Street, Limehouse, West Ham or Barking. A C2C train service departs from Fenchurch Street at 11:04am and arrives 12:18pm at Southend Central. Please purchase your ticket to Southend Central as we will be hopping on and off the train all day. The ticket will allow you to do this.

NB. We will be doing much walking in between destinations! Please get in touch if you have access concerns.

ITINERARY
12:20 Meet at Southend Central Station, Southend-on-Sea SS1 1AB
12:30 Have lunch in the Railway pub  (best vegan food in town)
13:30 Head to Focal Point Gallery to see Maximum Overdrive
15:00 Catch the train to Westcliff-on-Sea station, half hour walk and head to The Old Waterworks for Alison Loyd’s show
16:00 Catch the train from Westcliff station to Chalkwell Park to see the home of TOMA and Metal, Chalkwell Avenue, Southend on Sea SS0 8NB
17:00 Walk to TOMA artist Richard Baxter’s pottery studio (TBC)
18:00 Grab a drink in the multitude of pubs on the seafront and take in the Estuary views!

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Occasionally, on the last Saturday of the month from 2-5pm we visit three exhibitions within walking distance from each other. Free, everyone welcome. No need to book, just join us at 2pm or along the way. If you would like to curate the [ARTCRAWL] please download the infosheet and follow the directions to send us your proposal.

#11 Hampstead to Finsbury Park (via Mayfair)

Saturday, 24 June 2017, 14:00 -17:00
Starts 2pm at Freud Museum 20 Maresfield Gardens, Hampstead London NW3 5SX
Curated by Sophia Kosmaoglou
Free, booking not required

[ARTCRAWL] #11In June we’re venturing on an ambitious tour of London and taking public transport to see exhibitions at the Freud Museum and Furtherfield – venues that are off the beaten path. On the way we will stop at Thomas Dane in Mayfair. Below is a map of the route and a schedule with links to further information on the exhibitions. We will take the Jubilee line from the Freud Museum to Thomas Dane, and the Victoria line from there to Finsbury Park.

Please note that entry to the Freud Museum is £8 for adults, free for children under 12, £6 for senior citizens, £4 for students, unemployed, National Trust Members & National Art Pass Members. More details here.

SCHEDULE
14:00 The Best Possible School: Anna Freud, Dorothy Tiffany Burlingham & the Hietzing School in 1920s Vienna. Freud Museum 20 Maresfield Gardens, Hampstead London NW3 5SX
15:15 Paul Pfeiffer. Thomas Dane 11 Duke Street, St James’s London SW1Y 6BN
16:15 NEW WORLD ORDER. Furtherfield Gallery McKenzie Pavilion, Finsbury Park London N4 2NQ

#10 Mayfair to Fitzrovia

Saturday, 28 January 2017, 14:00 -17:00
Curated by Cristina Sousa Martínez
Free, booking not required

[ARTCRAWL]#10web

On Saturday 28 January we’re meeting 2pm at Sophia Contemporary to see the exhibition Recipe for a Poem by Azadeh Razaghdoost. Then we will head to Hamilton’s Cafe to listen to Transitivity of Implication by Daniel Toca at the Museum of Portable Sound, please bring your headphones! We will wrap up with a visit to Carroll / Fletcher for the group exhibition United We Stand. Below is the schedule with links to exhibition details and a map of the route.

SCHEDULE
14:00 Azadeh Razaghdoost Sophia Contemporary, 11 Grosvenor St, London W1K 4QB
15:00 Daniel Toca, Museum of Portable Sound Hamilton’s Café, 49 Maddox St, London W1S 2PQ
16:00 United We Stand Carroll / Fletcher, 56-57 Eastcastle St, London W1W 8EQ

#09 Hampstead to Camden Town (via Chalk farm)

Saturday 26 November 2016, 14:00 – 17:00
Curated by Katy Green
Free, booking not required

[ARTCRAWL] #9web

On Saturday, 26 November we’re meeting 2pm at Camden Arts Centre to see and exhibition of Bonnie Camplin‘s work. Then we will head to Zabludowicz Collection for the exhibition Basement Odyssey by Willem Weisman. Our final stop will be the group show Streams of Warm Impermanence with artists who work with Networked-Flesh at David Roberts Art Foundation. Please see below for the schedule and a map of the route.

SCHEDULE MAP
14:00 Bonnie Camplin Camden Arts Centre, Arkwright Road, London NW3 6DG
15:00 Willem Weisman Zabludowicz Collection, 176 Prince of Wales, Road London NW5 3PT
16:00 Streams of Warm Impermanence DRAF, Symes Mews, London NW1 7JE

#08 Camberwell to Peckham

Saturday 29 October 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #8

On Saturday 29 October we’re heading south and meeting 2pm at the South London Gallery to see The Source of Art is in the Life of a People by Roman Ondak, followed by a stop at Arcadia Missa to see Amalia Ulman’s solo Labour Dance, ending at South Kiosk to see And the Earth Screamed, Alive, a multi screen 16mm installation by Emma Charles. Please see below for the schedule with links to exhibition details and a map of the route. Everyone welcome.

SCHEDULE MAP
14:00
Roman Ondak South London Gallery 65-67 Peckham Road London SE5 8UH
15:15 Amalia Ulman Arcadia Missa Unit 6 Bellenden Road Business Centre London SE15 4RF
16:15 Emma Charles  South Kiosk Unit B1.1 Bussey Building 133 Rye Lane SE15 3SN

#07 Mayfair to St James (via Soho)

Saturday 24 September 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #7web

On Saturday 24 September we’re meeting at Timothy Taylor to see Shez Dawood’s solo, followed by Mike Kelley’s 1999 installation Framed and Frame at Hauser & Wirth and Uri Aran’s controversial show at Sadie Coles, ending with the Jannis Kounellis retrospective at White Cube. We’re spoiled for choice this month so we’ve crammed four exhibitions into this one. See below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00
Shezad Dawood: Kalimpong Timothy Taylor 15 Carlos Place London W1K 2EX
14:45 Mike Kelley: Framed and Frame Hauser & Wirth 23 Savile Row London W1S 2ET
15:30 Uri Aran: Two Things About Suffering Sadie Coles 62 Kingly Street London W1B 5QN
16:15 Jannis Kounellis White Cube 25 – 26 Mason’s Yard London SW1Y 6BU

#06 Mayfair to Fitzrovia

Saturday 30 July 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #6

On Saturday 30 July we’re meeting at at Simon Lee Gallery to see the work of Bas Jan Ader who disappeared at sea in 1975. We will then head north to see the work of Felix Gonzalez-Torres curated by Julie Ault and Roni Horn at Hauser & Wirth. Our final stop will be at Carroll/Fletcher to see Abuse Standards Violations by Eva and Franco Mattes. Please see below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00
Bas Jan Ader Simon Lee Gallery 12 Berkeley Street London W1J 8DT
15:00 Felix Gonzalez-Torres Hauser & Wirth 23 Savile Row London W1S 2ET
16:15 Eva and Franco Mattes Carroll/Fletcher 56-57 Eastcastle St London W1W 8EQ

#05 Hackney to Shoreditch

Saturday 25 June 2016, 14:00-17:00
Curated by Dasha Loyko
Free, booking not required

[GALLERYCRAWL] #5 webflyer

On Saturday 25 June we will meet at The Residence Gallery to see Info Pura, a group exhibition on knowledge, information and experience. Next we will visit Salon des Refuses at SPACE to see the work of Dasha Loyko and other artists rejected from the Royal Academy summer exhibition. Last stop is Blood For Light by Nastivicious at Waterside Contemporary. Please see below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00 
Info Pura Residence Gallery 229 Victoria Park Road London E9 7HD
15:00 Salon des Refuses SPACE 129-131 Mare Street London E8 3RH
16:15 Nastivicious Blood For Light Waterside Contemporary 2 Clunbury St N1 6TT

#04 Hackney to Shoreditch

Saturday 4 June 2016, 14:00-17:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #4 webflyer

On Saturday 4 June we will meet at Cambridge Heath Station and set off for Vilma Gold to see the work of Oliver Stone and Luther Price. Next we will make our way to Espacio Gallery for a group exhibition titled Organism, featuring the work of Penelope Kupfer among an illustrious list of artists. Last stop is Paulo Nimer‘s solo show at Maureen Paley. See below for the schedule and map of the route with links to exhibition details. Free, no need to book.

SCHEDULE MAP
14:00
Cambridge Heath Station Hackney, London E2 9EG
14:15 Oliver Stone & Luther Price Vilma Gold 6 Minerva St, London E2 9EH
15:15 Organism Espacio Gallery 159 Bethnal Green Road London E2 7DG
16:15 Paulo Nimer Maureen Paley 21 Herald Street London E2 6JT

#03 Hyde Park to Shadwell

Saturday 14 May 2016, 14:00-18:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #3 webflyer

On Saturday, 14 May 2016 we will meet at the Serpentine Gallery at 2pm to view Hilma af Klimt: Painting the Unseen and then make our way to the Sackler Gallery to view of the exhibition by DAS INSTITUT. Then we will head to the Rum Factory near Shadwell DLR station to see the work of Richard Burger. See below for the schedule and map of the route with links to exhibition details. Free, no need to book, just join us at 2pm. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Serpentine Gallery Kensington Gardens, London W2 3XA
14:15 Hilma af Klint Serpentine Gallery, Kensington Gardens, London W2 3XA
15:00 DAS INSTITUT Serpentine Sackler Gallery, W Carriage Dr, London W2 2AR
16:00 Lancaster Gate Tube Station Central Line to Bank, then DLR to Shadwell
17:00 Open Studios 2016 Rum Factory, Bow Arts, Unit 4, Pennington Street, E1W 2BD

#02 Whitechapel to Liverpool Street

Saturday 30 April 2016, 14:00-17:00
Free, booking not required

[GALLERYTOUR] #2 web-flier

On Saturday, 30 April 2016 we will meet at the bookshop inside the Whitechapel Gallery at 2pm to view Harun Farocki‘s video installation Parallel I-IV and  the archival exhibition Imprint 93 with prints by young British artists of the 1990s. Then we will head to Raven Row near Liverpool Street to see the work of Channa Horwitz. Please see below for the schedule and a map of the route. Free event, no need to book. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Whitechapel Gallery 77-82 Whitechapel High St. London E1 7QX
14:15 Harun Farocki Parallel I-IV Whitechapel Gallery
15:00 Imprint 93 Whitechapel Gallery
16:00 Channa Horwitz Raven Row 56 Artillery Lane London E1 7LS

#01 Hoxton to Mile End

Saturday 19 March 2016, 14:00-17:00
Free, booking not required

[GALLERYTOUR] #1 web-flier

On Saturday, 19 March 2016 we will meet at Hoxton Rail Station at 2pm. From there we will walk to xero, kline & coma to see Under the Shade I Flourish by Chris Alton. Heading east we will stop at Cell Project Space to see Ian Ball ‘s Praseodymium Intracrine Signal Aggregate and and we will end the tour with Park McArthur‘s Poly at Chisenhale Gallery. Please see below for the schedule and a map of the route. Free event, no need to book, just join us at 2pm. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Hoxton Rail Station Geffrye Street, London E2 8EA
14:15 Chris Alton: Under the Shade I Flourish xero, kline & coma, 258 Hackney Road, London E2 7SJ
15:15 Iain Ball  Cell Project Space, 258 Cambridge Heath Road, London E2 9DA
16:15 Park McArthur: Poly Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ