Dialogue Workshop 3


Kia ora tātou,
Come along to the third Dialogue workshop with Chris Braddock.

Dialogue suggests “a stream of meaning flowing among and through us and between us. This will make possible a flow of meaning in the whole group, out of which will emerge some new understanding. It’s something new, which may not have been in the starting point at all. It’s something creative. In this shared meaning is the ‘glue’ or ‘cement’ that holds people and societies together” (David Bohm, Schouten & Nelissen: 2).

The workshop may be recorded, please contact Chris for any questions: chris.braddock@aut.ac.nz

Thursday 22 November 2018
12 midday until 12:45PM
PhD studios level 3, WE Block

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Dialogue Workshop 2


Kia ora tātou,
Come along to the second Dialogue workshop with Chris Braddock.

Dialogue suggests “a stream of meaning flowing among and through us and between us. This will make possible a flow of meaning in the whole group, out of which will emerge some new understanding. It’s something new, which may not have been in the starting point at all. It’s something creative. In this shared meaning is the ‘glue’ or ‘cement’ that holds people and societies together” (David Bohm, Schouten & Nelissen: 2).

The workshop may be recorded, please contact Chris for any questions: chris.braddock@aut.ac.nz

Thursday 8 November 2018
12 midday until 12:45PM
PhD studios level 3, WE Block

David Bohm image on dialogue 1 (1)

Kathryn McCully Studio Critique


Kia ora tātou

Please come along to Kathryn McCully’s studio critique next week.

Tuesday 23rd October
midday-12:30pm
WE305

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The DIY Museum collection explores the institutional framework of the traditional museum model and its associated adherence to a structured brand of professionalism. The institution of the museum/art gallery is a façade which aims to strip away what the museum world often perceives as contextual interference from the outside world thus placing the object/artefact in isolation and repositioning it as an exhibitable art object. This displacement from the site, and lived experience of its production isolates the work from the wider social scenes that informed its creation and further reinforces a brand of museum professionalism that positions artists and communities as ‘visitors’ to whom a structured brand of knowledge should be disseminated.

Listening & Dialogue Workshops


Kia ora tātou,

Come along to workshops with Olivia Webb & Chris Braddock. This session is divided into two parts. The first half-hour is dedicated to ‘Listening’, led by Olivia. The second half-hour is dedicated to ‘Dialogue’, led by Chris. If you have any questions prior to the ‘Listening’ workshop, please email Olivia at oliviawebbartist@gmail.com. The Dialogue workshop may be recorded, please contact Chris for any questions: chris.braddock@aut. ac.nz

Thursday 25 October 2018 
12 midday until 1 PM
PhD studios level 3, WE Block

Listening Workshop_AUT 2018 Olivia Webb.jpg


 

Dialogue suggests “a stream of meaning flowing among and through us and between us. This will make possible a flow of meaning in the whole group, out of which will emerge some new understanding. It’s something new, which may not have been in the starting point at all. It’s something creative. In this shared meaning is the ‘glue’ or ‘cement’ that holds people and societies together” (David Bohm, Schouten & Nelissen: 2).

David Bohm image on dialogue 1

 

Studio Critique


Kia ora tātou

Please come along to Olivia Webb – critique of work in progress: Sung Family Portrait.

Thursday 18th October
Midday – 12:30pm
WM201c PG Test Space Room

Olivia Webb_Voices Project 2014. Photo by Deagen Wells.6

Voices Project, Olivia Webb, 2014

Art and Performance Reading Group: Lisbeth Lipari’s Ethics of Listening


Another Art and Performance Reading group to look forward to.
Thursday 4th October
12 midday to 1:30 PM
WE building level 3, between the PhD studios (see image below).


Reading Group: Lisbeth Lipari’s Ethics of Listening

Lisbeth Lipari’s 2014 Listening, Thinking, Being: Toward an Ethics of Attunement discusses philosopher Emmanuel Levinas’s notion of the face-to-face encounter with another as a meeting that must embrace difference. As such, we emphasise practices of listening that acknowledge difference and where encounters with participants are an ethical response to neighbours and strangers alike. Lipari terms this mode of being as “listening others to speech” and “listening otherwise” as she writes: “The listening,” in contrast to “the heard” is an enactment of responsibility made manifest through a posture of receptivity that can receive the other without assimilation or appropriation. “The listening” is a process of contraction, of stepping back, that creates a distance so that the other may come forward. In “the listening” I create a space to receive you, letting your speech enter me, flow through me (2014: 197-8).

There are two readings to look at before coming to the reading group. Please RSVP to John Vea and he will send you the readings. Emailartandperformanceresearch@gmail.com

– pages 175 – 204 from Lipari, Lisbeth. (2014). Listening, Thinking, Being: Toward an Ethics of Attunement. Pennsylvania: The Pennsylvania State University press. This section is called “Listening Others to Speech”.

and

– “Listening Others” from On Listening ed. Angus Carlyle & Cathy Lane. This is a super short essay that gives an intro to the topic/ideas.+

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Art and Performance Reading Group: Chantal Mouffe’s Agonism


Art and Performance Reading group
Thursday 30th of August
12 midday to 1:30 PM
WE building level 3, between the PhD studios (see image below).


Chantel Mouffe’s Agonism

This reading group focuses on the work of Chantel Mouffe and her ideas that navigate artistic activism and agonistic spaces of shared cooperation. Mouffe’s essay Artistic Activism and Agonistic Spaces argues for the importance of critical artistic practices in public spaces that never seek consensus. She seeks out art that acknowledges radical antagonistic political differences that are unsustainable and unresolvable.

Please read the following text before coming to the reading group & RSVP to John Vea.

Mouffe, C. (2007). Artistic Activism and Agonistic Spaces. Art & Research: A Journal of Ideas, Contexts and Methods, 1(2), 1–5. http://www.artandresearch.org.uk/v1n2/pdfs/mouffe.pdf

 

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Rumen Rachev Performance


Dear all,

You are warmly invited to Rumen Rachev upcoming performance, at the Talk Week, 2018. The details: 14th of August, Tuesday, 11:30-12:00, at WM, 3rd floor (the elevators).

Poster

 

Laura Marsh The ninthWave: sonic immanence and female empowerment


Kia ora tātou,
You are warmly invited to Laura Marsh’s Confirmation of Candidature PhD presentation:

Thursday 9 August
12pm
Testspace (WM201c)

PGR9 ad

This project fuses feminist activism and a DJ practice to generate an installation and participatory art practice aimed at corporeal sonic experiences. I convene activist events, often using sound weighted in low-end frequencies, in environments that I have designed for shared listening. In the context of a bass infused sonic environment, this project will investigate the potential of the sonic body, described by Paul Jasen as the “contingent, imaginative body that emerges in it’s sonorous relations.”

To enable activation of sonic bodies in regular events, I have designed a large, bass heavy sound system called ninthWavesoundShe will be a sound system built, owned and operated by womxn. This research is positioned in the context of a feminist new materialism where bodies are understood to be animated by environmental and sonic entanglements. ninthWavesound is an influential ‘being’ in herself, with her own agency and ‘thing power.’ By creating an affective field around herself that draws people together, ninthWavesound will be a harbinger of new affinities and resonances for a community of “oddkin”, to follow Donna Haraway, (oddkin are “kinship relations that are translateral, proliferating, and multispecies, rather than genealogical and anthropocentric.”) The generative space created around ninthWavesound will emphasise the intra-influential nature of oddkin, intertwining human and (Jane Bennett’s) “more-than-human” bodies, technologies, feminist subjectivities and resonant materialities.

ninthWavesound will offer opportunities for participation in sound events, such as DJ club nights and amplified immersive sound sessions. These events are experimental feminist acts of empowerment that aim to enhance participants’ well-being through vibrational affect and empleasurement. The affective scope of these research events are extended through a feminist approach to event promotion and invitation, in an art practice of mimetical subversion of patriarchal structures within the music industry.

Ever Present Archiving: new methodologies for art histories through fabrication, approximation and invention


Kia ora tātou,

You are warmly invited to Julia Holderness’s Confirmation of Candidature PhD presentation:

Thursday 19th July
12 midday until 1:30 PM
WF711

Ever Present Archiving: new methodologies for art histories through fabrication, approximation and invention

Ever Present Archiving explores how an installation-based practice might critique assumed forms of collected knowledge, and develops practices of fabrication, approximation and invention to interrogate archives and their construction of art-historical narratives. Focusing particularly on how representations of the past constitute ‘re-presentations’, this project revisits particular epochs in New Zealand’s art history (such as the Christchurch art collective called ‘The Group’, 1927– 1977), and imagines their possible entanglements with international movements (including for example the Bauhaus). In creating narratives that might or might not have existed – encompassing artists, groups, movements, and exhibitions – this project deliberates on the role of fiction in both the collection and interpretation of material histories, and critiques traditionally held divides between art historical scholarship and artistic fabrication. The making of objects and assemblages based on archival fragments becomes part of an original, reflexive, practice-led methodology for art-historical investigation that highlights both the productive nature of the archive, and gaps and slippages within the information it stores.

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Julia Holderness, fabrications in ceramic and linen, installation detail from Gallery 91, 2017, commissioned for SCAPE Public Art.

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