Tag Archives: Renata Minoldo

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.

Alternative Art Schools

Louise Ashcroft [2017] All My Lives. Arebyte LASER, 17 July 2017.
Louise Ashcroft [2017] All My Lives. Arebyte LASER, 17 July 2017.
July was a busy month, we had several meetings and got together with alternative art schools to ignite a discussion on cooperation and exchange ideas on the future of education in the arts.

On Friday, 14 July we got together for an open meeting and workshop on self-organisation. We shared ideas and decided to follow-up with a series of workshops to address new questions that came up, to consider the part that self-organisation plays in alternative art education, and to address our own cooperative practices.

Sneak preview of 100% Southend, Twenty One, Southend-on-Sea. Photo Cristina Sousa-Martínez.
Sneak preview of 100% Southend, Twenty One, Southend-on-Sea. Photo Cristina Sousa-Martínez.

On Monday, 17 July it was great to catch up with members of AltMFA and  to hear all about their future plans at Louise Ashcroft’s exhibition All My Lives at Arebyte Laser.

Maximum Overdrive, 20 May - 10 Sep 2017. Focal Point Gallery, Southend-on-Sea.
Maximum Overdrive, 20 May – 10 Sep 2017. Focal Point Gallery, Southend-on-Sea.

On Sunday, 23 July we headed to Southend where were greeted by Tricia North and Michaela Bannon, two members of the first cohort of The Other MA (TOMA), a 12-month alternative art education model based at Metal Art School.  Hot on their heels was Emma Edmondson, founder and coordinator of TOMA, and we set off for an absolutely epic tour from Southend-on-Sea to Leigh-on-Sea.

Our first stop was the Railway Hotel, where we were joined by Simon Cole down from London on a different route. After catching up over vegan lunch and a drink we headed towards the seafront for a sneak preview of Twenty One, a brand new venue in Southend. We caught the installation of 100% Southend, an open access exhibition for the launch of the new space. We circled back through town to Focal Point Gallery to see the group exhibition Maximum Overdrive and Big Screen Southend, an open access rolling submission public screen. Follow the link to find out how to submit your work.

Emma Edmondson at Metal Art School, Southend-on-Sea.
Emma Edmondson at Metal Art School, Southend-on-Sea.

We passed the ostentatious University of Essex student accommodation building, the monumental VAT building, the Beecroft Art Gallery and enormous developments on the way to the Old Waterworks, an independent, artist-led space. We saw the artists’ studios, darkroom, printmaking facilities and Alison Lloyd’s exhibition Act 1 – 1 Act – Walking the Gallery, Closed – Walking Birchen Hat at Winch Gallery.

Richard Baxter's studio Old Leigh Studios, Leigh-on-Sea.
Richard Baxter’s studio Old Leigh Studios, Leigh-on-Sea.

Then we headed through streets of terraced houses to West Road Tap for a drink and chat about alternative art education and coops. We set off along London Road to Chalkwell Park, home of TOMA and Metal Art School. Emma gave us a tour of the studio spaces, the exhibition and meeting spaces, the cosy living quarters and work spaces with excellent views of the Thames estuary. Visit the website for more information on Time and Space Residencies at Metal, the next deadline is on 30 September 2017.

After bidding farewell to Metal and the beautiful park we got caught in a downpour which let up as soon as we got to Chalkwell station. The sun and tide were both out by the time we arrived Leigh-on-Sea where TOMA artist Richard Baxter’s studio is located. Richard told us about the boat-building history of the studio, he showed us his work and we talked about reading groups, practice, theory and choices in alternative art education.

Still somewhat damp from the storm we piled into the Mayflower to recount the the day over calamari and beer. We eventually had to run for the train back to London because we got carried away with the view of the moody estuary. For more images please see the album on our Facebook page. Thank you TOMA for a fantastic day!

Renata Minoldo [2017] Freehand embroidery. School of the Damned's Common Room, Guest Projects, 22-29 July 2017.
Renata Minoldo [2017] Freehand embroidery. School of the Damned’s Common Room, Guest Projects, 22-29 July 2017.
Sean Roy Parker [2017] Recycled pressings, work-in-progress. School of the Damned's Common Room, Guest Projects, 22-29 July 2017.
Sean Roy Parker [2017] Recycled pressings, work-in-progress. School of the Damned’s Common Room, Guest Projects, 22-29 July 2017.
School of the Damned [2017] Common Room, a public programme of free events. Guest Projects, 22-29 July 2017.
School of the Damned [2017] Common Room, a public programme of free events. Guest Projects, 22-29 July 2017.
On Monday, 24 July we had a special edition of the book club at School of The Damned‘s (SOTD) Common Room, a week-long public programme of free educational workshops, talks and participatory events at Guest Projects, 22-29 July 2017.

SOTD is an alternative contemporary art postgraduate course based in the UK. The school runs a labour exchange economy based, offering a series of skills hour-for-hour in return for guests’ time, venues workshop provision, etc.

For the book club, Renata Minoldo prepared and chaired a discussion on Pedagogical Projects: How do you bring a classroom to life as if it were a work of art? An essay from Claire Bishop’s 2012 book Artifical Hells on pedagogical participatory art projects.

The discussion was entirely unrestrained, we meandered beyond territories relevant to the text in several interesting directions, focusing mainly on pedagogical practice and ethics. We might benefit from a return to the text or a closer look at concepts such as Foucault’s notion of parrhesia (the obligation to speak openly), Adorno’s concept of autonomy and Guattari’s ethico-aesthetic paradigm and transversality in the context of art and education.

We were excited to meet several members of the SOTD class of 2018, aka Year of the Rooster before the book club, and to talk about their work. Sean Roy Parker ran a Wildflower and Floristry walk on the previous day and was busy  reconfiguring his collection of found objects  into new ensembles. We were sorry to miss the discussion on Self-organisation, Access and Sharing on the previous day and we heard all about the fascinating workshop Thinking with Water: Pooling resources, research and ideas with Emily Wooley.

We viewed the beautiful display of work  from Renata’s Freehand Embroidery Technique workshop from the previous day. Renata combines costume design, visual art and art education in her practice, she is interested in pedagogy, communities, education, interdisciplinarity and participatory art, both as member of SOTD’s class of 2018 and in the context of her art practice. She has compiled the School of the Damned Open Library, which focuses primarily on alternative art education.

Thanks to SOTD, Renata Minoldo and everyone who joined this riveting discussion on art, participation and pedagogy. It was a pleasure to be part of this exciting programme of events and to enjoy the positive energy of this friendly, cooperative and creative environment. The fallen fruit crumble was delicious.

[SYMPOSIUM] BOOK CLUB

[SYMPOSIUM] BOOK CLUB
Nietzsche: The Birth of Tragedy

Friday, 12 April 2019, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
Facilitated by Nat Pimlott
Suggested donation £2, booking via Eventbrite

Markus Lüpertz [1965] Schuhabdruck—dithyrambisch (Shoe print—Dithyrambic). Ströher Collection, Darmstadt, Germany.
Markus Lüpertz [1965] Schuhabdruck—dithyrambisch (Shoe print—Dithyrambic). Ströher Collection, Darmstadt, Germany.
DOWNLOAD Friedrich Nietzsche (2003/1872). The Birth of Tragedy. Blackmask Online. Chapters 1, 16, 17, 23 and 24 (please note this starts from Chapter 1 after the introduction by Nietzsche titled an ‘Attempt at self criticism’ (1886) further down on the PDF under the title the Birth of tragedy).

The Birth of Tragedy, Nietzsche’s first book, published in 1872 when he was 28, is both a historical study of the origins of Greek tragedy and a complex and compelling argument for the necessity for art in life.

In the Birth of Tragedy Nietzsche describes two competing impulses in Greek culture – the Apollonian and the Dionysian.

Apollo as the god of the plastic or representational arts of painting and sculpture, is associated with beauty and order.

Dionysus in contrast is the god of the non-representational art of music, and associated with flux, mysticism and excess. Through music man is given a true glimpse into the nature of life, and the dissolution of individual identity in communion with nature.

While the Apollonian artist is associated with light and clarity, the Dionysian offers an insight into the darker side of life, a confrontation with the pain and destruction of existence.

Nietzsche argues that these forces and artistic tendencies which were in conflict were merged in Attic tragedy with the combination of the musical chorus and poetry. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it.

While this mixture of competing forces was richly realised in  Attic tragedy Nietzsche traces how the arrival of Socratic culture which prioritised the purely intellectual and rational led to the destruction of myth and the art of the tragedy.

In the second half of the Birth of Tragedy Nietzsche uses this framework as the basis of a critique of the rationalism of late nineteenth-century German culture.

In its wide-ranging discussion of the nature of art, science and religion, Nietzsche’s argument raises questions about the vitality and nature of culture in a secular, rationalist modern world.

It contains themes that will remain important in Nietzsche’s later work – including the ‘will’ (an ultimate force which determines human life which will become in his later work the ‘will to power’) and, as he sets out in his preface to the second edition, a critique of Christianity and modern science as forms of belief that he argues do not bring man close to the real meaning of life.

It also contains the roots of arguments that have proven to be some of Nietzsche’s most influential. It’s critique of rationalism in western culture links it to modernism; in it’s focus on dreams and the origins underlying latent content it also seems to have links to psychoanalysis; and in his search for the unknown origin behind avowed or accepted ones it also presages the work of post-structuralists such as Derrida, whose own work depends on disputing of accepted interpretations and origins.

The birth of tragedy has become one of Nietzsche’s best known and most influential books and a source of a challenging rich argument for how aesthetic experience relates to the meaning of life and other questions that remain central to the practice of art and criticism today.

Questions

  • What is the Apollonian and Dionysian? Is this opposition the right one?
  • Are there other forces that need to be considered? and is it relevant in interpreting art today?
  • How does rationalism and science shape modern culture?
  • What role can myth play in culture now?
  • Is aesthetic experience the only truth in a secular world?
  • Where is the Apollonian and Dionysian in modern culture? Does the Dionysian need revival?
Markus Lüpertz [1965] Schuhabdruck—dithyrambisch (Shoe print—Dithyrambic). Ströher Collection, Darmstadt, Germany.
Markus Lüpertz [1965] Schuhabdruck—dithyrambisch (Shoe print—Dithyrambic). Ströher Collection, Darmstadt, Germany.
Suggested further reading

Monthly reading group for artists, researchers and anyone interested in the intersections between art practice and critical theory. Everyone is welcome to propose a text and facilitate the reading group. Please book your place and download the shared document. For more information and an archive of previous events please scroll down.

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 donating to help cover our expenses and keep us going.

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.

Facilitating the book club

[SYMPOSIUM] is a supportive community of peers who discuss and unpack their research interests. All participants have the opportunity to facilitate the book club on a text of their choice. If you would like to propose a text, 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 send us your proposal.


[SYMPOSIUM] ARCHIVE

#34 Jared Diamond: Collapse
Friday, 8 March 2019, 7pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Alter Us

#33 Claire Bishop: Artificial Hells
Friday, 8 February, 7pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Eva Ruschkowski

#32 Eagleton & Zizek: The Idea of Communism
Friday, 14 December 2018, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Neil Lamont

#31 Mark Fisher: Capitalist Realism Pt.3
Friday, 9 November 2018, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Silvia Bombardini & Elliot C. Mason

#30 Debord: The Culmination of Separation
Friday, 12 October 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Penelope Kupfer & Darshana Vora

#29 Deutsch: Why are flowers beautiful?
Friday, 14 September 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by John Fortnum

#28 Fisher: Capitalist Realism Pt.2
Saturday, 9 June 2018, 2:30pm – 5:30pm
UNISON/Yurt Café, Limehouse, London E14 8DS
Facilitated by Sophia Kosmaoglou
Part of Antiuniversity Now 9-15 June 2018

#27 Derrida: Signature Event Context
Friday, 11 May 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott & Sophia Kosmaoglou

#26 Derrida: Structure, Sign and Play
Friday, 13 April 2018, 6:30pm–9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Sophia Kosmaoglou

#25 Fisher: Capitalist Realism Pt.1
Friday, 9 March 2018, 6:30pm-9pm
The Field, 385 Queens Road, London SE14 5HD
Facilitated by Sophia Kosmaoglou

#24 Cohn: Representation and Critique
Friday, 9 February 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Aris Nikolaidis

#23 Adam Curtis: HyperNormalisation
Friday, 12 January 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by
Neil Lamont

#22 Debord: Negation and Consumption
Friday, 8 December 2017, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Aristotelis Nikolaidis

#21 Adorno: Commitment
Friday, 10 November 2017
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott

#20 Foucault: Of Other Spaces
Sunday, 15 October 2017
UNISON/Yurt Café, Limehouse, London E14 8DS
Facilitated by Dasha Loyko

#19 Bishop: Pedagogical Projects
Monday, 24 July 2017
Guest Projects, 1 Andrews Road, London E8 4QL
Chaired by Renata Minoldo
Part of School of The Damned‘s Common Room

#18 Virno: The Dismeasure of Art
Friday, 9 June 2017
Grow Elephant, New Kent Rd, London SE17 1SL
Chaired by Rubén Salgado Perez

#17 Judd: Specific Objects
Friday, 21 April 2017
88 Fleet Street, London EC4Y 1DH
Chaired by Richard Burger

#16 Deleuze & Guattari: Rhizome
Friday, 10 March 2017
88 Fleet Street, London EC4Y 1DH
Chaired by Katie Tysoe and Sophia Kosmaoglou

#15 Marx: The Fetishism of the Commodity & its Secret
Friday, 10 February 2017
Wimbledon Art Studios, London SW17 0BB
Chaired by Sophia Kosmaoglou

#14 O’Sullivan: The Aesthetics of Affect
Friday, 13 January 2017
Louise House, Dartmouth Rd, London SE23 3HZ
Chaired by Katie Tysoe

#13 Foucault: The Four Similitudes
Friday, 9 December 2016
88 Fleet Street, London EC4Y 1DH
Chaired by Penelope Kupfer

#12 Foster: Post-Critical?
Friday, 11 November 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Dasha Loyko

#11 Badiou: Art & Philosophy
Friday, 14 October 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Kerry W. Purcell

#10 Sontag: Against Interpretation
Friday, 9 September 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by F. D.

#9 Groys: Under the Gaze of Theory
Friday, 8 July 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Sophia Kosmaoglou, respondent Johanna Kwiat

#8 Rancière: Problems & Transformations of Critical Art
Friday, 10 June 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Stephen Bennett
Part of Antiuniversity Now 9-12 June 2016

#7 Sewell: Tate Triennial III
Friday, 13 May 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Richard Lloyd-Jones

#6 Duchamp: The Creative Act
Friday, 8 April 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by F. D., respondent Penelope Kupfer

#5 Latour: On Actor Network Theory
Friday, 11 March 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Johanna Kwiat

#4 Barthes: The Death of the Author
Friday, 12 February 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Henrietta Ross

#3 Owens: The Discourse of Others
Friday, 8 January 2016
The Field, 385 Queens Road, London SE14 5HD
Chaired by Sophia Kosmaoglou

#2 Abu-Lughod: Writing against Culture
Friday, 11 December 2015
The Field, 385 Queens Road, London SE14 5HD
Chaired by OmarJoseph Nasser-Khoury

#1 Kant: What is Enlightenment?
Friday, 13 November 2015
The Field, 385 Queens Road, London SE14 5HD
Chaired by Sophia Kosmaoglou