This workshop is for current students in the Mphil/PhD programme. Topics include; ‘voices’ of the exegesis; tips for completing your exegesis; balancing writing and making
Lance Pearce, A walking pole points toward Kŭmgangsan, North Korea. A walking pole points toward Wolchulsan, South Korea, (2015)
Everything Moves So Swiftly is an art project focused on a singular approach to producing sculpture. The artworks produced within the project take different and distinct forms but all consist of two individual yet interrelated elements: all sculptures are comprised of familiar objects and written language, specifically a title related to its object.
My sculpture consists of unaltered familiar objects, each with a title conveying a context – descriptive or narrative – relevant to its object. The objects have everyday uses, which mean that they contain already existing meanings (function, history, and material) that is the basis of the work. Each title communicates a description or narrative relevant to its object, inviting the viewer to make imaginative connections between different planes of space, time, and meaning. Although the artworks communicate real world stories, albeit sometimes fanciful, they remain nonetheless simple functional objects, so that there is a shuttling back and forth between the registers of the material object and its corresponding narrative. Titling strategies relating to non-conventional linguistic meaning (as an intensifying device and an interruption of representation) becomes a method for checking audience reception, trembling sense and common sense.
Initiated in everyday contexts (an emergence rather than a production) and primarily contextualised by the philosophy of Gilles Deleuze, this project aims to extend the existing scholarship on sculptural practice, conceptual art, and viewer participation, in the context of the under-theorised area of the ‘conceptual artwork’ as an affective encounter. Here, what is at stake, is not what the conceptual artwork means or represents, but what it is capable of, what affects it produces. Here, the title of the work, through its operations of naming, narrating, and intertwining, is deployed as a means of complicating notions of truth, representation, and temporality. Notably, I examine examples of conceptual art through the operations of naming or the title, creating a contribution to discourse on New Zealand and international contemporary art.
The project involves a working methodology of intuition. Through the process of intuition, different images and ideas for art works arrive unaccountably, becoming retained in my thinking and recorded in sketches and writing, over time developing and consolidating. As a practical method, some artworks become a kind of evidentiary object through methods where they play a role in an past event, later to be re-presented in an exhibition as ‘proof’ of that event.
Can you listen, and be heard at the same time? Join artist Olivia Webb for an hour-long singing workshop that gives an opportunity to participate in a live recreation of her artwork Scale. Webb will lead the group through the different musical traditions that exist within the work. No prior singing or music skills required.
Webb is an artist and trained classical singer with experience in both performing and choral conducting. Her work Scale, currently exhibited at Te Tuhi, uses singing to explore cultural diversity within the New Zealand Catholic Church.
THEY COME FROM FAR AWAY:
a performance festival
They come from far away is a live performance series featuring a mixture of visiting artists from Finland, Germany, the UK, and across Aotearoa. The series will explore notions of the familiar/unfamiliar, being alien/belonging, being foreign/local and being seen/unseen.
Co-curated by Leena Kela (Finland), Christopher Hewitt (Germany), and Auckland-based Mark Harvey, the series will be situated in spaces in or around Te Uru as well as further out into the surrounding environment. Live performances will be accompanied by video screenings and public talks.
Stephen Bain (NZ), Matthew Cowan (NZ), Sean Curham (NZ), Mark Harvey (NZ), Leena Kela (Finland), Antti Laitinen (Finland), Nisha Madhan (NZ), Pilvi Porkola (Finland), Claire O’Neil (NZ), Oblivia (Finland), val smith (NZ), Joshua Sofaer (UK) and Eero Yli-Vakkuri (Finland).
The series will take place from 10-13 February. All events are free. We’ll be updating this page with details of when and where performances will take place – so watch this space!
Starts Wednesday 10th February and runs through to Saturday 12th February.
All events are free. Full programme details available here: http://teuru.org.nz/index.cfm/whats-on/events/they-come-from-far-away-a-performance-series/
Kindly supported by the Chartwell Trust, FRAME, Arts Promotion Center Finland and TINFO
The Art and Performance Research Group has formed a reading group, and this week we will be reading Karen Barad’s text Posthumanist Performativity: Toward and Understanding of How Matter Comes to Matter (2003) along with an interview titled Intra-active Entanglements.
If you wish to join us, email co-ordinator Ziggy Lever at firstname.lastname@example.org
The Art and Performance research Group invite you to a reading of Chapter 4: The delimiting and fixing of images from Henri Bergson’s seminal text Matter and Memory.
Abby Cunnae has suggested the reading along with The Thing by Elizabeth Grosz for contemporary context / a direction for the discussion in terms of materiality, things.
There will be coffee and tea, and the reading group will meet in WM201A at 1pm on the 3rd of December
All In The Best Possible Taste with Grayson Perry is a 2012 documentary television series on United Kingdom station Channel 4, starring Turner Prize-winning artist Grayson Perry. The series analysed the ideas of taste held by the different social classes of the United Kingdom. Perry produced a series of six tapestries depicting the taste ideas of Britons, entitled “The Vanity of Small Differences.”
“Working Class Taste”
“Middle Class Taste”
“Upper Class Taste”
Friday 12th June at 4.30 – 5.45 p.m. lecture theatre WG403 (Sir Paul Reeves Building)
At the end of the eighteenth century all branches of the arts and sciences were arguing the pros and cons of rationalism versus vitalism. While the Enlightenment sought to establish reason as an autonomous and progressive force capable of freeing humanity from the “fanaticism” of both dogmatic metaphysics and religious fundamentalism, vitalism – and in particular its strictly materialist version, hylozoism – fought back in proposing a genetic force that animated all matter, and was not specifically human. This force was immanent to matter, autopoietic, and imparted “life” to all things, a life that the contemporary biologist Georg Ernst Stahl called “animism”. Such an animism found direct expression in aesthetic production, and in particular that of theSturm und Drang group, for whom vital force was directly experienced and embodied in art.
Today, the disputes between rationalism and vitalism continue, although more recently in a reversed form in, for example, both postconceptual artistic practice and the neo-Enlightenment ideas of Accelerationism. On the other side, the philosophy of Deleuze and Guattari has perhaps done the most to advance a contemporary version of hylozoism (adding to, and thereby adjusting its Romantic roots with thinkers such as Bergson and Simondon, and in the case of Guattari with a direct engagement with anthropological studies of animism) within the context of both biology and the fine arts. Indeed, their concept of the “readymade” (borrowed from Duchamp but in a significantly adjusted form – unsurprising given Duchamp’s hatred of Bergson) is an “animist” object connecting artistic and natural living processes in their thought. Beginning from Deleuze and Guattari’s readymade it therefore becomes possible to sketch out the beginnings of an alternative genealogy for contemporary artistic practice, one that is animist rather than rationalist (ie., conceptual) in inspiration, and that connects the hylozoist tradition to the production of the new that is the philosophical and political core of Modernism.
Stephen Zepke is an independent researcher based in Vienna, Austria. He is the author of Sublime Art: Towards an Aesthetics of the Future(Edinburgh University Press, forthcoming 2015) and Art as Abstract Machine, Ontology and Aesthetics in Deleuze and Guattari (Routledge, 2005), and the co-editor (with Sjoerd van Tuinen) of Art History After Deleuze and Guattari (Leuven University Press, forthcoming 2015) and (with Simon O’Sullivan) of Deleuze and Contemporary Art (Edinburgh University Press, 2010) and Deleuze, Guattari and the Production of the New(Continuum, 2008).
Thursday 11th June at 4.30 – 5.45 p.m. lecture theatre WG403 (Sir Paul Reeves Building)
This paper, which draws on the works exhibited in the 2013 exhibition I organized in Montreal (“Material Traces: Time and the Gesture in Contemporary Art”), makes use of thing theory, aesthetic theory, and theories of immaterial labor to examine a trend in contemporary art towards returning to manual creative processes and explicitly “worked” materials. Looking at a range of practices foregrounding what I call the “having been made” of the work of art, I argue that such practices afford us an opportunity to address transformed structures of labor in contemporary society—specifically the interrelations among processes of making (or labor) and the materialities transformed and animated throughthese processes—and thus point to new configurations of subject-object relations and new modes of engagement that enliven rather than shut down a range of affective and embodied interpretive moments. In this way, the artists’ negotiation of aspects of immaterial labor allows for future spectators (or “experiencers”) to rethinkour own relationship to viewing and interpreting and assigning value to the images and things we engage.
Amelia Jones is the Robert A. Day Professor in Art and Design and Vice-Dean of Critical Studies at the Roski School of Art and Design at University of Southern California. A curator and a theorist and historian of art and performance, her recent publications include Perform Repeat Record: Live Art in History (2012), co-edited with Adrian Heathfield, a single authored book Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), the edited volumeSexuality (2014), and, co-edited with Erin Silver, Otherwise: Imagining Queer Feminist Art Histories (forthcoming). Her exhibition Material Traces: Time and the Gesture in Contemporary Arttook place in 2013 in Montreal.