9 December 17:30 Room C303, CSM, KX Adequate Knowledges is a series of five ‘talks’ that elaborate readings of certain childhood books. In this second event of Adrian’s series Adequate Knowledges:
‘A second book, one, two, three, many …or what was good enough for then is hardly good enough for now. Is three too many? Was two far too many? Is one more than enough, inconceivably so? In the shadow of future passions as Lohengrin watches Egyptian science, alarmed and not quite astonished, I will unfold episode two in the annals of adequacy…..’
How do new knowledges adequate to these starting points? Life writing, or whatever we might want to call it, becomes a series of abstractions of this problematic
I’m writing to let you know about our forthcoming event in the Exhibition Histories Talks series at Whitechapel Gallery in London.
Next week on Thursday 10 December Rasha Salti will be in conversation with Whitechapel Gallery’s Omar Kholeif to discuss ‘The International Art Exhibition for Palestine’, which took place in Beirut in 1978, and the archival and documentary exhibition presenting this research ‘Past Disquiet’, curated by Salti and Kristine Khouri at Museu d’art Contemporani de Barcelona (MACBA), 2015. More information about the event can be found here.
If you have any further questions, please feel free to contact me.
This is a day of presentations by and for students and tutors. This year’s theme is archives and institutions. It’s very much a chance to hear work in progress and the programme will be shaped by the kind of work being done by the participants.
Archives can be understood widely as can the definition of an institution. Themes we may like to address include how archives can be discussed in the wake of institutional critique and ‘new institutionalism’; technological (or technocratic) issues (‘big data’, ‘born digital’ content, or materials that are difficult to archive, or difficult to display); or how interests may or may not be linked between archives and institutions. We may wish to explore other paradigms, and/or locate questions in archives themselves. How and whether these affect curatorial practice or our understanding of exhibitions may also be an interesting theme to explore.
This event brings together staff, doctoral students and students from masters programmes with an interest in curating and archiving from Birkbeck, Central Saint Martins, Chelsea College of Art and the Royal College of Art. The event will provide a forum for sharing emerging research and professional practice.
This is the second such event, following The Archive and Domestic or Private Space, held at the RCA in December 2014, where we heard presentations by 5 tutors, 4 PhD students, and 8 MA students.
This year’s event is kindly being hosted by the Royal Festival Hall. NB it is not a public event.
Our Doctoral Open Days are a chance for PhD students who are new to the Library to discover the British Library’s unique research materials. From newspapers to maps, datasets to manuscripts, ships’ logs to websites, our collections cover a wide range of formats and languages spanning the last 3,000 years. Doctoral Open Days are designed to explain the practicalities of using the Library and its services, plus help you navigate our physical and online collections. As well as hearing from our expert and friendly staff students will have the opportunity to meet researchers in all disciplines.
You will see that we have taken a different approach to this year’s events. Subjects such as History, English, Drama, Art & Design etc, will now be covered in inter-disciplinary days concentrating on different aspects of the Library’s collections. As always, students are invited to attend the day they feel would be most relevant to their studies. The Open Days are as follows:
The Journal of Contemporary Painting combines peer-reviewed scholarship, particularly that emerging from practice-based research, with new writing and visual essays by academics and practitioners. Research essays will complement reviews and interviews that are responsive to current debates in painting and related art practices. The Journal is aimed at a broad readership encompassing academics, critics, writers, artists, curators and the gallery-going public.
The Journal of Contemporary Painting responds to the territory and practice of contemporary painting in its broadest sense, treating painting as a context for discussion and exploring its sphere of influence, rather than defining it as a medium specific debate. The Journal combines a thematic approach with an open call, each issue opening up and problematising different facets of contemporary painting.
As well as contributions to current debates on contemporary art, the Journal also publishes archival texts alongside current responsive articles allowing new debates to emerge, based on the premise that the contemporary cannot be understood without a self-reflexive knowledge of history. The Journal will also work with artists and other scholars to produce original visual essays.
In focusing on the territory of painting practice, JCP takes an international approach, providing a forum for the exchange of views drawn from a wide geographical field. The Journal maps where painting is, acting as a platform for international scholarship in this area. The Journal also functions as a multidisciplinary discursive space in which a range of subject specialisms can be brought to bear on the culture of painting. JCP creates a place where scholars and practitioners from many disciplines can converge and exchange ideas on a common object of study.
Thursday, 17 December 2015 from 16:00 to 20:00 (GMT)
Central Saint Martins – 1 Granary Square King’s Cross N1C 4AA GB –
You are invited to celebrate the launch of Deleuze and Design edited by Betti Marenkoand Jamie Brassett, published by Edinburgh University Press as part of their ‘Deleuze Connections’ series.
This book investigates the ways that the creative philosophies of Gilles Deleuze and Félix Guattari and the multiple practices and thinking of designing impact each other, with focus on technodigital objects, innovation and design strategies, illustration, activism, smithing, functionality, design history and ecosophy.
Join editors Betti, Jamie and some of the authors for an evening of discussion provoked by this book. In addition special guest, Pat Kane, will give a response to the book followed by drinks and networking.
The event is open to all members of the public, UAL staff and students, and would be of particular interest to philosophy and design students or academics, as well as design industry professionals.
“In a field decidedly weak in theoretical constructs, this book goes a long way toward aligning design studies with contemporary philosophy. But it also steers Deleuze in a new direction, unleashing the creative power and possibilities behind one of the chief philosophical figures of our age.” – Dr Elizabeth Guffey, State University of New York, Purchase
Manola Antonioli. Ecole Nationale Supérieure d’Architetture de Paris La Villette
Derek Hales. Independent researcher working in para-academic contexts of R&D, abstract culture and philosophy.
John O’Reilly. Associate Lecturer MA Course Leader Innovation Management CSM
Pat Kane has many personas. He is the author of the 2004 book The Play Ethic, and Director of the innovation and futures consultancy of the same name. Pat is also lead curator for NESTA’s FutureFest and a political activist, supporting Scottish independence. Since 1986 Pat has, with his brother Greg, formed the band Hue and Cry, and still perform and produce new work. He has always engaged in philosophical concepts, especially those from Deleuze and Guattari, and we are honoured to have him join us for this launch.
Join us on the evening of Thursday 19 November, from 7.00 p.m.
to celebrate the launch of
Issue VII of E.R.O.S., ‘The Interior’
at Ditto Gallery, 4 Benyon Road, London N1
Issue VII of E.R.O.S. locks itself away behind closed doors. Its subject is the inner sanctum; the projection of the self onto the inside of the shell. The intimacy and egoism of the interior will be glimpsed through keyholes (both escutcheoned and surgical), invitations to cross thresholds, and burglaries. Contents and surfaces will be scrutinised; furniture and appliances will become animate; and the apertures through which we discern what is inside and outside will mirror and deceive.
Issue VII of E.R.O.S., ‘The Interior’, is now available to pre-order ahead of our launch on 19 November at Ditto Gallery. All orders will be shipped on 20 November. The contributors to this bumper issue are:
Ross Exo Adams | Carlo Mollino & Becky Beasley | Francis Haselden | Pier Vittorio Aureli | Mark Cousins | Adam Jasper | Joanna Walsh|Marlene Haring | Jamie Sutcliffe | Gillian Wylde | Melanie Bonajo | J.A. Harrington | Jeanne Randolph | Alessandra Spranzi | Timothy Brittain-Catlin | Associates (Sami Jalili & Emma Letizia Jones) | Nathalie Du Pasquier | Horrible Gif. | Charles Rice | Daniella Valz-Gen | Emma Talbot | Forbes Morlock | Natasha Soobramanien & Luke Williams | Jessie Makinson | Claudia Dutson | A. Jones | Kim Schoen | Ivonne Santoyo Orozco | Hannah Gregory | Christopher Alexander | Nemanja Zimonjic | Gabor Gyory | Jonathan Meades | Neil Chapman| Jaspar Joseph-Lester | Jacob Dreyer | Richard Wentworth
E.R.O.S. is the journal of Eros Press. It is published biannually, and dedicated to the subject of desire. It covers a wide range of fields, drawing together often disparate disciplines under the auspices of each issue’s theme. Alongside newly commissioned work, E.R.O.S. contains excerpts, reproductions and reappraisals. Submissions are welcomed, and notice of forthcoming themes can be obtained upon request. Commissioning Editors Sami Jalili Fabian Lang Emma Jones Rebecca LaMarre Sharon Kivland
Parallel to the issue runs the exhibition The Interior, an artists’ response to the theme made tangible. Laura Eldret, Luke Burton, Marlene Haring and Claire Bailey will present a variety of sculptural works that will transform Ditto into an indeterminate space, between domestic interior and gallery.The exhibition runs between 20.11.15 and 09.12.15
In collaboration with Newcastle University and the New Centre for Research, NYC, FILET is pleased to invite you to
Art and Reason – How Art thinks
A symposium devised by Prof Amanda Beech, artist, writer, visiting professor at Newcastle University and Dean of Cultural Theory at CAL Arts
The Symposium will take place on the 24th of November at Newcastle University. FILET and the New Centre for Research, New York will join in the discussion via live streaming.
Newcastle University – Amanda Beech, Robin Mackay, Bassam El Baroni and Diann Bauer, chaired by Uta Kögelsberger
FILET, London – chaired by Suhail Malik
New Centre for Research and Practice, New York, respondent, Keith Tilford
When it comes to the relation between theory and practice, we know that art works can fall into the trap of illustrating, instrumentalizing, idealizing, and often oversimplifying theoretical ideas and concepts. These relations, affiliations and citations traverse philosophical ideas and artistic practice. In doing so they cause contradictions and problems regarding how we might conceive of the relation between thought and action, appearance and reality, metaphysics and empiricism and art and philosophy. Consequently, this problem urges us to understand how artistic practice thinks as a discipline, if indeed such a thing is now a valid category, and how art determines thought in form; the site where the operations of reason interacts with the spheres of the sensory and the visible.
‘Art and reason – How Art Thinks’ dials critical and theoretical conversations back to core questions about the status of the image and its capacity for scientific reason. Rather than the artwork as the site of some ineffable mystery we confront the question of the artwork as the place where reason manifests. How does art reason and what is a rationalist art practice?
103 Murray Grove, London, N1 7QP
FILET is a space for experimental art production founded by Rut Blees Luxemburg and Uta Kögelsberger. Based in London, it is a research organ in close proximity to silicon roundabout providing a platform for the creation, dissemination and discourse of emergent strategies in contemporary art.
The Doctoral Platform at CSM offers PhD candidates the space in which to meet, share research, as well as co-ordinate, curate and participate in a variety of events.