Bursary Outcome Announced

Many thanks to those who applied for the Critical Theory in Contemporary Art Practice Bursary! We received a high volume of inspiring applications from candidates who practice across a range of media and disciplines including sculpture, installation, painting, writing, design, sound, performance,  social engagement, activism and curating.

It was a very close and difficult decision, the selection was based on criteria that prioritised the needs of each candidate. The quality of the work and the level of commitment throughout was impressive and inspiring, as were the many crossovers between the projects. It would be a privilege to have all the candidates on the course.

The criteria for selection included a correspondence between the candidates’ research questions and the course topics, a demonstrable need for a supportive pedagogical environment, an unconventional and experimental practice motivated by a spirit of enquiry, an active interest in pedagogy and the politics of education and a motivation to collaborate with others.

Renata Minoldo Bursary Recipient

Congratulations to Renata Minoldo who is the Bursary recipient, we look forward to welcome her on the course. Renata explores the physical, spiritual and emotional body through sculpture, installation and participatory workshops, in her own words “My practice flows from the haptic to the ethereal, subtle experience”. She aims to bring emotional states into a physical dimension by creating objects and environments, using her practice as a tool to develop and research ideas of sensuality, self knowledge and healing. Renata self-consciously questions her practice while exploring the possibilities of an affective and embodied form of critical practice. She sees herself as a conduit that is activated in the process of making physical objects and organising collaborative experiences that help her understand her practice. She is a member of School of the Damned Class 2018 and facilitates workshops for adults and children researching alternative learning and teaching methods involving interdisciplinary practices and non hierarchical education. renataminoldo.com

Renata Minoldo and Natasha Cox [2018] Being in the Body. Environmental Installation and experimental workshop. Event commissioned by Guest Projects on their 10th year anniversary. Photos by Ania Mokrzycka.
Renata Minoldo and Natasha Cox [2018] Being in the Body. Environmental Installation and experimental workshop. Event commissioned by Guest Projects on their 10th year anniversary. Photos by Ania Mokrzycka.
Miki Holloway First Runner-Up

Miki Holloway has a practice that produces social forms. This includes a critique group, improvised narrative workshops, multi-media dialogues, performance and creating new social configurations. He experiments with context and setting to explore and re-negotiate the potential of institutions and social contexts to affect how meaning is produced.  He interrogates the role of authorship on social structures and the pragmatics of participation by blurring the boundaries between authors, collaborators and participants. Miki’s practice researches the artists’ role within capitalism, the potential for atomized spectators to become connected producers and the potential for art to have a political emancipatory effect. Miki is an associate at Set Studios’ in Bermondsey, he has contributed to Grizedale Arts programme of community-orientated work and he runs community art workshops on mental health. He has exhibited in group exhibitions, published zines and written articles on the Politics of Participation, Psychosomatic Muscle Tension, Ontology and Toxic Masculinity. Miki is also a political activist with experience and training in horizontal organizing and direct action. mikiholloway.com

Miki Holloway [2018] B.o.a.t, number 9, Set Studios 07/08/2018. Illustration by Rachel Sale.
Miki Holloway [2018] B.o.a.t, number 9, Set Studios 07/08/2018. Illustration by Rachel Sale.
Charlie Pritchard Second Runner-Up

Charlie Pritchard’s art practice focuses on immaterial or invisible forces and investigates how mediums such as performance, video, sound and text can channel imaginative frameworks and activate objects and places. He is interested in topics such as the relationship between matter and thinking, the paranormal, collective unconscious, perennial philosophy and how contemporary scientific theory collapses the distinctions between subject and object. Charlie’s research based practice relies on a community of peers. He studied at Arts University Bournemouth and engaged in theoretical research by attending symposia. He participated in the Many Voices residency at Wysing Arts Centre and delivered a presentation on Steven Connor’s Dumbstruck: a cultural history of Ventriloquism and the disembodied voice. He is a member of The Noematic Collective, a sound collective that responds to the hierarchy of vision in culture and education. charliepritchard.co.uk

Charlie Pritchard [2018] Through a “Medium” of Aether. Interclamp, Pioneer plasmas, Sun lounger, Polystyrene Balls, 25 mins.
Charlie Pritchard [2018] Through a “Medium” of Aether. Interclamp, Pioneer plasmas, Sun lounger, Polystyrene Balls, 25 mins.

Why are flowers beautiful?

Bees in the Old Tidemill Wildlife Garden. Photo Sophia Kosmaoglou.
Bees in the Old Tidemill Wildlife Garden, Deptford.
Jamaican Independence Day, Old Tidemill Wildlife Garden Aug 2018. Photo Sophia Kosmaoglou.
Jamaican Independence Day, Old Tidemill Wildlife Garden, Aug 2018.
Peruvian Benefit Party, Old Tidemill Wildlife Garden May 2018. Photo Sophia Kosmaoglou.
Peruvian Benefit Party, Old Tidemill Wildlife Garden, May 2018.

Hope you had a chance to enjoy the sun and recharge your batteries over the summer! We have an exciting season of events ahead with many opportunities to get involved and help build a self-organised alternative art school.

Today Monday, 3 September is the last chance to apply for the Critical Theory in Contemporary Art Practice Bursary for a free place on the course. Please download the application form and return it by midnight tonight.

Our first event of the season is the book club on 14 September with a discussion on David Deutsch’s video lecture Why are flowers beautiful? facilitated by John Fortnum.

Join us on Saturday, 29 September for the second installment of the Deptford Art & Gentrification Walk. Meet at 1pm inside Deptford Railway Station for an afternoon of discussions on the relationship between art and gentrification.

On 26 October 2018 we have a general meeting to discuss the future of the book club and nominate a new coordinator. Please come along if you’d like to help run the book club, decide how it works and keep it going. We will also be discussing a new research and reading group on radical pedagogy, alternative art education and self-organisation leading to the launch of a self-organised studio programme in 2019.

If you were subscribed to the symposium discussion list and have been removed due to the new GBPR policies please get in touch to rejoin the list.

We’re helping to raise money for a legal challenge of Lewisham Council’s decision to demolish the community-run Old Tidemill Wildlife Garden and the council homes of Reginald House as part of a regeneration scheme of the Old Tidemill site in Deptford. Please donate so we can Save Tidemill, Save Reginald! or come along and get involved in the campaign.

[ART&CRITIQUE] BURSARY
Critical Theory in Contemporary Art Practice Bursary

DEADLINE Monday, 3 September 2018
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Please click the link for more info

Robert Mapplethorpe, Sepia Orchid_thumb[SYMPOSIUM] BOOK CLUB
Deutsch: Why are flowers beautiful?
Friday, 14 September 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by John Fortnum
Suggested donation £2, booking via Eventbrite

[ARTCRAWL] #15 Deptford[ART&CRITIQUE] ART CRAWL
Deptford Art & Gentrification Walk Pt. 2
Saturday, 29 September 2018, 13:00 -18:00
Meet 1pm inside Deptford Railway Station, London SE8 3NU
Curated by Sophia Kosmaoglou and Paul Clayton
All welcome, booking not required

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou. Critical Theory in Contemporary Art Practice [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
8 Oct–3 Dec 2018, 6:30pm-9pm & 27 Oct 2:30pm-5pm
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Booking via Eventbrite

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.[ART&CRITIQUE] MEETING
General Meeting
26 October 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
September 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
Old Tidemill Wildlife Garden, Deptford. Photos by Sophia Kosmaoglou.
Patrick Mimran [2004] Billboard Project, New York. Photo by Sophia Kosmaoglou.
Robert Mapplethorpe [1988] Sepia Orchid from the series Flowers. Toned photogravure, 50 x 51 cm.
Stanford’s Library Map of London & its Suburbs 1864, showing proposed Metropolitan Railways (detail).
Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

School of Civic Action

UK Commons Assembly, organised by Public Works and Commons Rising. Tate Modern, 20 July 2018. Photo Darshana Vora.
UK Commons Assembly, organised by Public Works and Commons Rising. Tate Modern, 20 July 2018. Photo Darshana Vora.

Many thanks to Torange Khonsari from Public Works and Tim Flitcroft from Commons Rising for inviting us to the first UK Commons Assembly, at the School of Civic Action. We had an excellent time and look forward to the next meeting.

We’re taking a break in August but we’re back on 14 September with a discussion on David Deutsch’s video lecture Why are flowers beautiful? facilitated by John Fortnum.

Join us for the second installment of the Deptford Art & Gentrification Walk on Saturday, 29 September. Meet us at 1pm inside Deptford Railway Station for an afternoon of discussions on the relationship between art and gentrification.

The Critical Theory in Contemporary Art Practice Bursary is a fee-waiver awarded to one applicant who will benefit most from participating in the course, regardless of previous experience, background or education. To apply please download the application form and return it by Monday, 3 September 2018.

Have a great summer!

UPCOMING EVENTS

[ART&CRITIQUE] BURSARY
Critical Theory in Contemporary Art Practice

DEADLINE Monday, 3 September 2018
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Please click the link for more info

Robert Mapplethorpe, Sepia Orchid_thumb[SYMPOSIUM] BOOK CLUB
Deutsch: Why are flowers beautiful?
Friday, 14 September 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by John Fortnum
Suggested donation £2, booking via Eventbrite

[ARTCRAWL] #15 Deptford[ART&CRITIQUE] ART CRAWL
Deptford Art & Gentrification Walk Pt. 2
Saturday, 29 September 2018, 13:00 -18:00
Meet 1pm inside Deptford Railway Station, London SE8 3NU
Curated by Sophia Kosmaoglou and Paul Clayton
All welcome, booking not required

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou. Critical Theory in Contemporary Art Practice [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
8 Oct–3 Dec 2018, 6:30pm-9pm & 27 Oct 2:30pm-5pm
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Booking via Eventbrite

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
August 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
UK Commons Assembly, organised by Public Works and Commons Rising. Tate Modern, Jul 2018. Photo Darshana Vora.
Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou.
Robert Mapplethorpe [1988] Sepia Orchid from the series Flowers. Toned photogravure, 50 x 51 cm.
Stanford’s Library Map of London & its Suburbs 1864, showing proposed Metropolitan Railways (detail).
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

Report on the UK Commons Assembly

By Darshana Vora

UK Commons Assembly, organised by Public Works and Commons Rising. Tate Modern, 20 July 2018. Photo Darshana Vora.
UK Commons Assembly, organised by Public Works and Commons Rising. Tate Modern, 20 July 2018. Photo Darshana Vora.
ART&CRITIQUE workshop, UK Commons Assembly. Tate Modern, 20 Jul 2018. Photo Darshana Vora.
ART&CRITIQUE workshop, UK Commons Assembly. Tate Modern, 20 Jul 2018. Photo Darshana Vora.
Public Works Archive of Alternative, Self-organised Schools. UK Commons Assembly, Tate Modern, Jul 2018.
Public Works Archive of Alternative, Self-organised Schools. UK Commons Assembly, Tate Modern, Jul 2018.

The UK Commons Assembly was held at the Tate Exchange on July 20, 2018 by the School of Civic Action, and Art&Critique were invited to make a presentation and conduct a workshop.

Torange Khonsari (Public Works) spoke about her practice in relation to The Commons as ‘social relationships that can mobilise a change through agency, trust, generosity and connectedness’. She, along with Tim Flitcroft (Commons Rising) were responsible for organising the event with a view to bring together the various Commons operating in the UK with the hope of expanding the scope of this discourse through the MA course on Design for Cultural Commons at The Cass.

The morning session consisted of introductory presentations under various categories such as Health, Food production, Energy, Digital, Technology, Culture, Urban commons, Common Law, Governance and Land. It was a real eye-opener for me to hear about so many community-driven alternative initiatives that challenge the hegemony and empower people to creatively re-think their ownership of ‘the commons’, be it the NHS (‘The NHS belongs to the people‘) or land occupancy (Urban Commons, Shared Assets). Sophia presented the ethos and work of A&C as well as similar alternative art-education networks like the the School of the Damned, Alt MFA, TOMA, and collaborative venues like The Field and Unison. It was great to see that Rosanna Thompson from The Field was there to corroborate A&C’s work in their presentation, and Sophia attended their workshop later that day. Sophia also led A&C’s workshop for around 8 participants, and got people engaged in the session, to address questions of the model of Alternative art education.

There were many ideas, models and case studies in those presentations that A&C could perhaps use to further its development plans, particularly those relating to the co-operative model. I suppose we could reach out to some of the presenters to advise us on aspects that they have encountered and overcome, so that we can begin to form a working timeline on some of our goals.

The UK Commons Assembly is an open platform to meet others, exchange knowledge and to see if there is an appetite for an ongoing UK Commons Assembly. In a contemporary context of much inequality, the Commons discourse introduces models of sharing. The Commons are about the assets that belong to everyone, forming resources that should benefit all, rather than being enclosed to just a few. The aim of the day is to put on an exhibition showing the wealth of Commons projects happening in the UK. There will be discussions as well as workshops to inform the public about the commons. It is also an opportunity to vision how the commons might work beyond the individual projects and to set up practical outcomes going forwards. The ambition of this event is to continue beyond this event in formats decided by the participants and contributors on the day.

The School for Civic Action is a pedagogical experiment that tests alternative modes of knowledge transfer at work in civic city making, challenging traditional urban teaching and disciplinary restriction. The Civic University manoeuvres across disciplines that complement one another, implementing new ways of knowing and acting. Teaching and learning at the Civic University is symbiotic; by situating its curriculum within live projects in the city, it can mutually provide a support structure back to the local communities, the sites they occupy and for the individuals enrolled.

Public Works is a not-for-profit critical design practice set up in 2004 that occupies the terrain in-between architecture, art, performance and activism. Together with our interdisciplinary network, we re-work the city’s opportunities towards citizen driven development and nurturing their rights over the city.

Commons Rising is a group set up with the aim to share knowledge and connect experiences on the Commons. By Commons we mean people self-organising to co-produce and co-govern resources that they recognise as important for their livelihood and well-being and that of the planet. We wish to act as catalysts helping to link up groups who may not think of themselves as a Commons but who are part of the broader Collaborative Economy. Through building a network Commoning can become a stronger force for positive change.

Invitation to a meeting

Derrida's Exquisite Corpse, BOOKCLUB#27, 11 May 2018 at Larc.
Derrida’s Exquisite Corpse, BOOKCLUB#27, 11 May 2018 at Larc.
Group discussion on art and gentrification in the Old Tidemill Garden, Reginald Road. Photo by Ruth Gilburt.
Group discussion in the Old Tidemill Garden. Photo by Ruth Gilburt.

Thanks to everyone who came along and contributed to our events in May and June!

Many thanks to Nat Pimlot for facilitating the excellent discussion on Jacques Derrida’s Signature Event Context and to everyone who came along and shared their stories on the Deptford Art & Gentrification Walk in May. Many thanks to the venues for welcoming us and to everyone who met us along the way for their contributions, please see the photo album on Facebook for more details.

Thanks to all the participants who came along and contributed to the book club on Mark Fisher’s Capitalist Realism in June, with a very special thanks to Anastasia Freygang for hosting us on Unison.

The book club is having a break in July and August but you’re invited to a meeting on 13 July 2018, where we will discuss the future of the book club and nominate a new coordinator. Please come along if you’d like to help run the book club and keep it going.

On 20 July 2018 we’re participating in the School of Civic Action at Tate Modern, this event is part of an assembly on the commons organised by Public Works and Commons Rising.

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.[ART&CRITIQUE] MEETING
General Meeting
13 July 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou. Critical Theory in Contemporary Art Practice [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
6–10 July 2018, 10:00–16:00
Chelsea College of Arts UAL, 16 John Islip Street, London SW1P 4JU
Tutor Sophia Kosmaoglou
Booking via UAL

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
July 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
Photos by Karen Barnes and Box on Wheels drying at the Bird’s Nest, Church Street. Photo by Ruth Gilburt.
Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

Signature Event Context

Thanks to all who came along and contributed to an excellent discussion on Jacques Derrida’s Structure, Sign and Play. The consensus was to stick with Derrida,* so we’re discussing Signature Event Context at the next book club on 11 May 2018. Thanks to Nat Pimlot for preparing the material.

Save the date! The next art crawl is on 26 May 2018, and we’re visiting Deptford for a whole day of discussions on art and gentrification, and much else besides.

Join us in June for the second in the series of book clubs on Capitalist Realism by Mark Fisher, continuing with chapters 4-5 (pages 21-38). This book club will take place on *UNISON, a lifeboat-turned-project-space. We will meet at Yurt Café near Limehouse station at 2:30pm and depart at 3pm to reach the boat moored nearby.

If you would like to facilitate one of the book clubs in the series on Capitalist Realism please get in touch.

#27 Derrida Signature Event Context_signature[SYMPOSIUM] BOOK CLUB
Derrida: Signature Event Context
Friday, 11 May 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott and Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

[ARTCRAWL] #14-flyer-thumb[ART&CRITIQUE] ART CRAWL
Deptford Art & Gentrification Walk
Saturday 26 May 2018, 12:00 -19:00
Meet 12pm at Deptford Railway Station, London SE8 3NU
Curated by Sophia Kosmaoglou
All welcome, booking not required

[SYMPOSIUM]#27 Fisher Capitalist Realism Pt 2. Flyer by Sophia Kosmaoglou_thumb[SYMPOSIUM] BOOK CLUB
Mark Fisher: Capitalist Realism Part 2
Saturday, 9 June May 2018, 14:30–17:30
Yurt Café, St. Katharine’s Precinct, 2 Butcher Row, London E14 8DS
Part of Antinuiversity Now 2018
Suggested donation £2, booking via Eventbrite

Curating Contemporary Art [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Curating Contemporary Art
2–6 July 2018, 10:00–16:00
Chelsea College of Arts UAL, 16 John Islip Street, London SW1P 4JU
Tutor Sophia Kosmaoglou
Booking via UAL

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
May 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

*When Cambridge University decided to give Derrida an honorary degree in 1992, a group of (mainly analytical) philosophers and academics from all over the world wrote a letter in protest, here is their critique:

…where coherent assertions are being made at all, these are either false or trivial… little more than semi-intelligible attacks upon the values of reason, truth. (Letter against Derrida’s Honorary Degree. The Times, 9 May 1992)

Another quotation that indicates the animosity that Derrida provoked in philosophical and scholarly circles comes from the British right-wing conservative (philosopher) Roger Scruton:

He’s difficult to summarise because it’s nonsense. He argues that the meaning of a sign is never revealed in the sign but deferred indefinitely, and that a sign only means something by virtue of its difference from something else. For Derrida, there is no such thing as meaning – it always eludes us and therefore anything goes. (Roger Scruton in Stephen Moss (2004), Deconstructing Jacques. The Guardian).

When asked why his work provoked these attacks, Derrida replied that it was because his work questioned and modified “the rules of the dominant discourse, it tries to politicize and democratize education and the university scene” (Jacques Derrida, 1995, Honoris Causa). The US documentary Derrida (2002 dir. Kirby Dick and Amy Ziering Kofman), begins with a clip from a French TV panel discussion, where the presenter introduces Derrida as “a thinker of lightning thoughts, whose work is like that of miners who work by exploding the beams supporting their shafts”.

IMAGE CREDITS
Jacques Derrida (1988). Limited Inc. Evanston: Northwestern University Press, p.21 (detail).
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

Structure & Deconstruction

Nicolas Copernicus [1543] Heliocentrism. De revolutionibus Orbium coelestium, libri IV (Revolutions of the heavenly orbs). Nuremberg.
Nicolas Copernicus [1543] Heliocentrism. De revolutionibus Orbium coelestium, libri IV (Revolutions of the heavenly orbs). Nuremberg.
Thanks to everyone who came along to the first in the series of book clubs on Mark Fisher’s Capitalist Realism. It was a real pleasure to meet so many people with diverse perspectives and common interests. We will continue with chapters 4 & 5 in May 2018.

In April we’re discussing Structure, sign and play in the discourse of the human sciences, Jacques Derrida’s inaugural paper on deconstruction presented at Johns Hopkins University in 1966. If you would like to propose a text and facilitate the book club please visit the website for more info and to download the infosheet.

Our first independent Critical Theory in Contemporary Art Practice course is fully booked but we’re organising another edition of the course on the basis of a labour exchange, giving those who cannot afford the fees the opportunity to participate. This will also be a great opportunity for those who are interested in working together to develop an alternative model of free and sustainable education. For more information, to join the team and get involved please visit the proposal page on Openki.net.

Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV (Revolutions of the heavenly orbs). Nuremberg.[SYMPOSIUM] BOOK CLUB
Derrida: Structure, Sign and Play
Friday, 13 April 2018, 6:30pm–9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

IMAGE CREDITS Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV. Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.[OPPORTUNITIES & ANNOUNCEMENTS]
April 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
Nicolas Copernicus (1543) Heliocentrism. De revolutionibus Orbium coelestium, libri IV.
Philip Guston [1973] Painting, Smoking, Eating. Oil on canvas, 196.8 x 262.9 cm.

Fee-waiver Award Outcome

Many thanks to those who applied for the Fee-Waiver Award and to those who helped spread the word. We received a high volume of inspiring applications across a range of media and disciplines including sculpture, installation, painting, writing, design, sound, performance, choreography,  participation, activism, curating, conservation, architecture and social research.

It was a close and difficult decision because all the candidates stood to benefit from the course. The selection was based on an objective set of criteria, which prioritised the needs of each individual candidate. These were not hard and fast rules, but relative values that emerged from the candidates’ applications. In this instance they included a correspondence between the candidates’ research questions and the course topics, a demonstrable need for a supportive pedagogical environment, a spirit of inquiry, an unconventional practice and an experimental attitude, an active interest in pedagogy and the politics of education and a motivation to collaborate with others.

Lucy Webster Award Recipient
Lucy Webster [2017] Labour, Labour. Remote control chassis with clay body, washing machine-shaped wedding cakes, cakes and icing, film 'The Great Baptism'.
Lucy Webster [2017] Labour, Labour. Remote control chassis with clay body, washing machine-shaped wedding cakes, cakes and icing, film ‘The Great Baptism’.

Congratulations to Lucy Webster who is awarded the Fee-Waiver. Lucy is a multidisciplinary designer. She graduated with a BA in Design from Goldsmiths in 2017. Her work is research-based and explores themes of cultural critique, sociology, patriarchy and semiotics with performance, film, fiction, poetry and sculpture. She has developed her research and practice independently since her graduation. Lucy’s reflexive and collaborative practice, together with her research questions on politics and the avant-garde, and her desire to work in a collaborative environment earned her the award.

Renata Minoldo First Runner-Up
Renata Minoldo [2018] Studies for Self Knowledge Workshop, 3 hours.
Renata Minoldo [2018] Studies for Self Knowledge Workshop, 3 hours.
Renata Minoldo is the first runner-up. Renata explores intuition, sensuality and rituals through sculpture, installation and participation. She has a BA in Fashion Design and attended a residency at Banff Centre of the Arts, Canada. She has been exhibiting since 2010 with two solo exhibitions in Argentina. She is a member of School of the Damned Class 2018 and works as an arts facilitator for adults and children, exploring alternative learning and teaching methods involving interdisciplinary practices and non hierarchical education.

Alice Weber Second Runner-Up
Alice Weber [2018] Agency Speculative Bodies. Choreography workshop.
Alice Weber [2018] Agency Speculative Bodies. Choreography workshop.
Alice Weber is the second runner-up. Alice is a choreographer and performer. She studied psychology at the University of Sydney, trained in ballet and is completing an MFA in Choreography at Trinity Laban. Her practice includes solo work, improvisation, teaching, hosting workshops and writing with a record of public performances and residencies. Her interests lie in subjective epistemologies, the body archive, body multiplicity and her work explores agency, femininity, object- and subject-hood and body ontology. Alice teaches ballet in London and is a guest workshop teacher in Sydney.

UPDATE: Critical Theory in Practice (proposal for a collectively organised course)

In discussions following the recent Fee-waiver Award, the idea emerged to organise a course based on a labour exchange. The course will be organised collectively, giving the opportunity to those who cannot afford the fees to participate. It is also an opportunity for those who are interested in working together to develop an alternative model of free and sustainable education. Depending on how this goes, it will initially replace the Fee-waiver Award with a more equitable and inclusive alternative. For more information and to join the team and get involved please visit the proposal page on Openki.net.

Capitalist Realism

Gerhard Richter [1963] Party. Oil, nails, cord on canvas and newspaper, 150 x 182cm.
Gerhard Richter [1963] Party. Oil, nails, cord on canvas and newspaper, 150 x 182cm.
Wolf Vostell [1969] B 52 Lipstick Bomber. Serigraph and lipsticks behind glass in wooden box, 88 × 119.5 cm.
Wolf Vostell [1969] B 52 Lipstick Bomber. Serigraph and lipsticks behind glass in wooden box, 88 × 119.5 cm.
Many thanks to everyone who came along and contributed to an excellent discussion on Representation & Critique. A very special thanks to Aris Nikolaidis for facilitating! We grappled with definitions of modernism, postmodernism, anarchism, anarchist modernism and postmodern anarchism, and we tried to unpack their inter-relationships through Jesse Cohn’s vantage point. The discussion was inconclusive due to the sheer expanse of the material and deserves a follow-up.

In March we’re back at The Field for the first in a series of book clubs on Capitalist Realism by Mark Fisher, starting with chapters 1-3 (pages 1-20). The book is 81 pages long and we can read it in 3-4 installments, something to decide at the end of the first session. The download link will take you to a PDF of the entire book. We will continue the series with chapters 4 & 5 on 11 May 2018, unless another proposal takes precedence. If you would like to facilitate any of the sessions please get in touch.

The Field New Cross reopens October 2017. Image courtesy of The Field.
The Field New Cross reopens October 2017. Image courtesy of The Field.

The Field reopened in October 2017 with a new cooperative structure. We’ve been invited to join the coop and we will have a meeting to discuss membership after the book club in March. If you are a member of A&C and would like to become member of the Field please come along or get in touch via email.

Many thanks to those who applied for the Fee-Waiver Award! If you haven’t heard from us yet please check your spam bin. It was a very close outcome based on an objective set of criteria which prioritised the needs of the individual candidates. Thanks to everyone who helped spread the word. We will announce the successful applicant by 9 March 2018, once they have accepted the offer and if they are happy for us to do so.

Gerhard Richter [1963] Party. Oil, nails, cord on canvas and newspaper, 150 x 182 cm.[SYMPOSIUM] BOOK CLUB
Fisher: Capitalist Realism
Friday, 9 March 2018, 6:30pm-9pm
The Field 385 Queen’s Rd London SE14 5HD
Facilitated by Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou.[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice

19 April – 14 June 2018, 6:30-9pm + 5 May 2018, 2:30-5pm
Kupfer Arch 213, Ponsford Street, London E9 6JU
Tutor Sophia Kosmaoglou
£250 via Eventbrite or apply for the Fee-waiver Award

Announcements & Opportunities[OPPORTUNITIES & ANNOUNCEMENTS]
March 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

The Crisis of Critique

George Orwell (1956). 1984. Harmondsworth: Penguin, p. 171.
George Orwell (1956). 1984. Harmondsworth: Penguin, p. 171.

Thanks to everyone who came along and contributed to an excellent discussion on Adam Curtis’ film Hypernormalisation. A very special thanks to Neil Lamont for facilitating! We watched a 13 minute excerpt of the film and the discussion revolved around consciousness and complicity. Neil handed out copies from George Orwell’s 1984 and read the passage on doublethink, comparing it to the concept of hypernormalisation, which Curtis borrows from Alexei Yurchak, a term he coined to describe the culture of resignation to the simulacrum of normality in 1980s Soviet Russia.

In February we’re joining Aris Nikolaidis to discuss The Fate of Representation, the Fate of Critique, chapter six in Jesse Cohn’s 2006 book Anarchism and the Crisis of Representation: Hermeneutics, Aesthetics, Politics. What would a radical anti-representational aesthetic look like today, beyond the binary opposition between autonomy and popular culture?

If you ever wanted to join the Critical Theory in Contemporary Art Practice course this is the time! We’re running the first independent [ART&CRITIQUE] course in April 2018 and we’re inviting submissions for a Fee-waiver Award. To apply please download the application form and return it by 5pm on Friday, 23 February 2018. For more information please follow the links below.

Enrico Baj [1972] The Funeral of the Anarchist Pinelli. Textured offset colour print, 75 x 68 cm. Edition 200.[SYMPOSIUM] BOOK CLUB
Cohn: Representation and Critique
Friday, 9 February 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Aris Nikolaidis
Suggested donation £2, booking via Eventbrite

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou.[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice

19 April – 14 June 2018, 6:30-9pm + 5 May 2018, 2:30-5pm
Kupfer Arch 213, Ponsford Street, London E9 6JU
Tutor Sophia Kosmaoglou
£250 via Eventbrite or apply for the Fee-waiver Award

Announcements & Opportunities[OPPORTUNITIES & ANNOUNCEMENTS]
February 2018
The list of opportunities, open calls, deadlines, announcements & vacancies is updated regularly.
If you would like to post your listing for open calls, opportunities or vacancies on the list please use the contact form to send us the details.

IMAGE CREDITS
George Orwell (1956). 1984. Harmondsworth: Penguin Books, p. 171.
Enrico Baj [1972] The Funeral of the Anarchist Pinelli. Textured offset colour print, 75 x 68 cm. Edition 200.