Whitechapel Salon, Thursday 26th September: Ogg, Orlow, and Till on the future of ‘theory’ in art and design education
Salon: The Future of Theory
Thursday 26 September, 7pm – 9pm
Join Curator Kirsty Ogg, artist Uriel Orlow and Head of Central Saint Martins Jeremy Till for the first in a series of debates on the future of ‘theory’ in art and design education.
Organised with the Institute for Modern and Contemporary Culture, Westminster and University for the Creative Arts.
For more details, click here.
Call for Contributions: ‘Visions of Contemporary Cuts’, forthcoming themed issue of Journal of Visual Culture.
The International Association of Visual Culture (IAVC) invites proposals for its third biennial conference in San Francisco, March 14-16, 2014.
The conference is centered on the concept of Visual Activism. How can we better understand the relationships between visual culture and activist practices? There are ways in which art can take the form of political/social activism and there are also ways in which activism takes specific, and sometimes surprising, visual forms that are not always aligned with or recognizable by art-world frameworks. How can we engage in conversations about abstract or oblique visual activism, for instance as is demanded in conditions of extreme censorship? How can we approach the complexity of governmental or commercial ‘visual activism’ to better address hegemonies of visual culture (for example, in advertising and the mass media)? What becomes of the temporal lag that attends such images, when the politics of visual production are only made legible in retrospect, with historical distance? How does the past become a form of ‘visual activism’ in the present? To what degree do forms of visual activism travel, and in what ways are they necessarily grounded in locally specific knowledge and geographically specific spaces?
Presentations should respond to these questions or related topics and may take the form of scholarly papers (20 minutes), artist talks (20 minutes), short performances (5 to 30 minutes), or lighting-round interventions (5 minutes). Proposals should include a 400-word abstract, links to websites with additional publications or relevant images and information, and a CV. Please send proposals to email@example.com (with ‘visual activism’ as the subject line) no later than October 1, 2013.
The conference is convened by Julia Bryan-Wilson (Associate Professor, Modern and Contemporary Art, UC Berkeley), Jennifer A. González (Associate Professor, History of Art and Visual Culture, Contemporary Art, Race and Representation, UC Santa Cruz) and Dominic Willsdon (Leanne and George Roberts Curator of Education and Public Programs, SFMOMA) and will take place at the Brava Theater Center and Yerba Buena Center for the Arts in San Francisco, CA.
Please email firstname.lastname@example.org to be added to the mailing list to receive updates about the conference such as registration, the calendar of events and participants.
Saturday 8 June, 3pm-5pm
Clore Creative Studio, Whitechapel Gallery, London E1 7QX
The Whitechapel Salon: Between Philosophy and Practice
From the classroom to the studio, what is the status of philosophy in contemporary art teaching and practice? With guests Elie During, Stewart Martin and Jean-Marie Schaeffer, a one-off Whitechapel Salon organised by the Institute for Modern and Contemporary Culture at Westmister in collaboration with the Whitechapel Gallery and the Institut Français, London. Hosted by David Cunningham and Marquard Smith.
Elie During is Maître de Conférences in the Department of Philosophy at the Université de Paris Ouest – Nanterre La Défense. His publications include La Science et l’Hypothèse: Poincaré (2001), Faux raccords: la coexistence des images (2010), Bergson et Einstein: la querelle du temps (2013), and, in collaboration with Dominique Gonzales-Foerster, Donatien Grau and Hans-Ulrich Obrist, Qu’est-ce que le curating? (2011). He is on the editorial board of the journal Critique.
Stewart Martin is Senior Lecturer in Modern European Philosophy, Aesthetics and Art Theory at Middlesex University. He has published widely on Critical Theory, capitalism and philosophy, and contemporary art in journals including Mute, Oxford Art Journal and Third Text. He is a member of the editorial collective of the journal Radical Philosophy.
Jean-Marie Schaeffer is Directeur d’études at the École des hautes études en sciences sociales and Directeur de recherche at the Centre International d’Etude de la Philosophie Française Contemporaine. His publications include Petite écologie des études littéraires (2010), La fin de l’exception humaine (2007), Why Fiction? (2011; originally in French, 1999), Art of the Modern Age (2000; French, 1992), and, in collaboration with Nathalie Heinich, Art, création, fiction. Entre philosophie et création (2004).
Tickets £8/6 concessions (£4 Members).
Call for Papers: ‘Visual Studies as Academic Discipline’ conference, Centre for Visual Studies, Zagreb, Croatia, November 2013
The past two decades have witnessed a large increase in academic interest in all visual phenomena, including those strictly visual – from painting and film to experimental video and multimedia installations – as well as all the forms of applied arts: graphic and industrial design, fashion and advertising. In many countries, this interest in visual practice is accompanied by the interest in visual theories, primarily in the new discipline of visual studies that keep acquiring academic legitimacy at universities worldwide.
Visual studies have emerged as a result of parallel expansion that occurred respectively in the fields of art history and film studies, whose radical members have converged particular theories of still and moving images, towards an integral science of images. After W.J.T. Mitchell and Gottfried Boehm have sanctioned the pictorial turn as the basic interest of hyper-mediatized society, it became clear that various visual phenomena demand a much wider theoretical platform, one which would take into consideration the definitive erasure of borders between high and low art, between elite and popular culture, as well as between creators and consumers of visual messages.
For the first time in history, the users of images became the producers of images, within an unrestrained circular process, wherein images yield new insights, while insights demand their instantaneous pictorial foundation. The development and expansion of telecommunication technologies have transformed the traditionally understood technical images into a new communication code that is accessible to everyone. However, does this accessibility simultaneously presume that the new communication code is intelligible to everyone using it? Do we really know what are the images telling us, what do they want from us or what is it that we want from them? Do we know in which manner the most recent researches in technosciences prove, by the way of visualization, their radical tenets on biocybernetic complex systems, and how is the notion of image inscribed into the performative bodies of art and fashion today?
The International Scientific Conference Visual Studies as Academic Discipline aims to gather a wide circle of university oriented theorists, so that they can jointly consider the ways in which they deliberate and teach about images, primarily about their overlapping meanings, that arise through the intermedia networking of various visual practices, as well as through the transdisciplinary analyses of contemporary theories. This symposium wishes to examine the theoretical legitimacy of a wide field of visual representations: art, film, photography, design, fashion and performance. It also wishes to consider the disciplinary status of actual visual studies as an (established) scientific paradigm.
We invite all the concerned colleagues to submit their presentations on one of the proposed subjects:
1. The theoretical and disciplinary status of visual studies – two decades after the pictorial turn
2. Visual studies as a “radical” version of art history or a critical detour?
3. The epistemological aspects of visual studies in university curricula
4. The potentials of the applied science of images: interactions between art, film, design, fashion and performance
5. “Non-disciplinarity” as an approach to the multimedia image of the world
6. Fashion studies today: from the theory of fashion to the design of body
Presentations are limited to 20 minutes. In order to participate at the Conference, please send abstract of your paper (150 words) together with short CV to email: email@example.com and firstname.lastname@example.org until 21st of July 2013. The scientific board will notify you of the status of your proposal until 25th of July 2013.
W.J.T. Mitchell, University of Chicago, USA
Michele Cometa, University of Palermo, Italy
Marquard Smith, University of Westminster, London, GB
Members of the workgroup Visual Culture in Europe:
Nina Lager Vestberg, Norwegian University of Science and Technology, Trondheim, Norway
Øyvind Vågnes, The Bergen Center for Visual Culture, Norway
Joaquín Barriendos, Columbia University, New York, USA
Ana Maria Guasch, University of Barcelona, Spain
Safet Ahmeti, Center for Visual Studies, Skopje, Macedonia
Max Liljefors, Lund University, Sweden
Almira Ousmanova, European Humanities University, Vilnius, Lithuania
Scientific and organisational board:
Žarko Paić, PhD, Associate Professor, Faculty of Textile Technology, University of Zagreb
Krešimir Purgar, PhD, Center for Visual Studies, Zagreb
Sandra Bischof, PhD, Dean of Faculty of Textile Technology, University of Zagreb
Katarina Nina Simončič, PhD, Assistant Professor, Faculty of Textile Technology, University of Zagreb
Nikola Petković, PhD, Professor, Faculty of Humanities and Social Sciences, University of Rijeka
Leonida Kovač, PhD, Assistant Professor, Academy of Fine Arts, University of Zagreb
Suzana Marjanić, PhD, Senior Research Associate, Institute of Ethnology and Folklore, Zagreb
Goran Sergej Pristaš, Associate Professor, Academy of Dramatic Art, University of Zagreb
Silva Kalčić, Lecturer, Faculty of Textile Technology, University of Zagreb
Petra Krpan, MSc, Faculty of Textile Technology, University of Zagreb
Laura Potrović, MSc, Academy of Dramatic Art, University of Zagreb
Nikola Devčić, Director of the Association “White Wave”, Zagreb
Center for Visual Studies, Zagreb; Tvrđa – Magazine for theory, culture and visual arts; Croatian Writers’ Society; Faculty of Textile Technology, University of Zagreb; Association “White Wave”, Zagreb
The Conference will take place at the Faculty of Textile Technology in Zagreb, from 7th to 9th November 2013. Details will be regularly updated on the web site www.visual-studies.com.
The Conference is organized within the activities of the workgroup Visual Culture in Europe, and is the fourth such event, following previous ones held in London (2010), Barcelona (2011) and Trondheim (2012).
The Conference Visual Studies as Academic Discipline is endorsed by The International Association for Visual Culture.
The Museum of Contemporary Cuts (MoCC) is developing a research project, under the directorship of Lanfranco Aceti, to assess and map the impact of the arts funding reductions in several European Countries and North America, and would like to invite individuals and funded organizations to contribute their data.
This is a form that will provide us with the data regarding art organizations that have closed as a consequence of the current economic crisis or that have had their funding cut.
The research project will analyze the impact of the current economic crisis on the arts throughout the following countries (Austria, Canada, Belgium, Cyprus, Denmark, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Netherlands, Norway, Portugal, Sweden, Spain, Turkey, United Kingdom and United States) comparing official data with data provided on each specific territory.
The project aims to create a repository of data that can be accessed and poured through to gain a clear impression of the affected organizations and the current state of the arts from 2007 to present.
MoCC will create, using the information gathered, a series of data visualizations, as well as art commissions, curatorial projects, exhibitions, research analyses and publications. It will promote initiatives that will be showcased and presented at international events and biennials.
At the end of 2012, one such organization effected, was the NIMk. The activities of the Netherlands Media Art Institute ceased as of 31 December, 2012.
To assist us with this task, we are asking individuals and arts organizations to send us the following information on the art organizations that have closed or have received funding cuts in the period 2007 – present.
You can provide this information by using our online web form available at this link: http://museumofcontemporarycuts.org/deadly-cuts-form/
Also, we would like to display, online, the Letter of Funding Cuts that art institutions received during the period 2007 – present.
These Letter of Funding Cuts can be scanned at 300dpi resolution and emailed to: email@example.com or posted, as a physical copy to be archived by MoCC.
Postal address: Ref. Letter of Funding Cuts To: Lanfranco Aceti, MoCC Director, Faculty of Arts and Social Sciences, Sabanci University, Orhanli/Tuzla, 34956 Istanbul, Turkey
Letters should be sent ideally by December 31, 2013 – but we will continue to accept them throughout the life of the Museum of Contemporary Cuts.
Enquires about this particular project, collaborations for exhibitions and research with MoCC should be sent to: firstname.lastname@example.org
To stay informed please subscribe to our newsletters:http://www.lanfrancoaceti.com/newsletters
Follow MoCC on Facebook:http://www.facebook.com/MuseumOfContemporaryCuts
Follow MoCC on Twitter:
We acknowledge the support of Operational and Curatorial Research (OCR), International Association for Visual Culture, Kasa Gallery, Sabanci University, Chelsea College, Westminster University and Goldsmiths College.
Image credit: Jonathan Munro, Vacant, 2013. Digital image.
We Have Come to Shack Up with You is a new art project by Lanfranco Aceti.
Lanfranco Aceti Inc. sponsors 10 return train trips from London to Wendover, to the country home of the current Prime Minister. In the spirit of sacrifice and in order to share the costs of the current debt, perhaps the Prime Minister may consider providing accommodation in the extra number of rooms of his country home.
This rambling performance that sees an idyllic journey in the English countryside as well as a walk up to the country house of the PM will provide an artistic and aesthetic moment to reflect on the philosophical implications of a growing divide between the haves and have nots, between petty crimes by the lower classes heavily punished and global criminal activities by the higher classes that go unpunished.
On the 1st April, 2013 (as a bad April Fools’ joke) a set of new stringent changes have been made to the United Kingdom’s welfare system. One of the most controversial changes by the current government is to penalize those living in social housing; the disadvantaged and out of work. Find out more about the bedroom tax.
When: 13th April 2013
Time: 10am – 5pm
Where: Leaving from London Marylebone to Wendover
To apply for this trip and be one of the lucky 10 to participate in the artwork please get in touch with the Museum of Contemporary Cuts by accessing the link to the form and provide your name, email, telephone number and a short text explaining the reason why you should join the trip.
Additional to the cost of train travel the 10 attendees will receive lunch and a pint in one of the local pubs.
If you have any queries about this event, please contact Jonathan Munro and Ozden Sahin:
About Chequers the residency of the current Prime Minister
Chequers is the official country home of the Prime Minister of the UK. It is an Elizabethan mansion in the Chiltern hills near Princes Risborough, Buckinghamshire, and was given to the nation by Lord Lee of Fareham under the Chequers Estate Act 1917, which came into effect in 1921. Its estate contains about 500 ha/1235 acres of farmlands and woods.
We Have Come to Shack Up with You is realized by Lanfranco Aceti Inc. with the collaboration of MoCC (Museum of Contemporary Cuts).
Artworks by Lanfranco Aceti.
Senior Curators: Joasia Krysa and Marquard Smith.
Curators: Jonathan Munro and Ozden Sahin.
The International Association for Visual Culture is thrilled to be collaborating with the Museum of Contemporary Cuts (http://
An International Research Symposium on the Visual Culture/Art/History/Design of Childbirth in the 21st century
University College Dublin, 2-3 July 2013
Developed and hosted by UCD PhD Candidates Doreen Balabanoff and Martina Hynan
This interdisciplinary research symposium will provide an opportunity for contemporary critical debates into the visual culture of childbirth and consider how our cultural representations of birth influence our approaches to childbirth itself.
The event will draw on visual theorisations of women’s birthing bodies from the eighteenth century on; investigate visual readings of maternal identity in local and global cultures, and consider images and texts representing birth events and birth environments. This emerging research area focuses on perspectives from the lived experience of women and diverse practitioners, and seeks to bring together historical, contemporary and futuristic understandings of individual and societal portrayals and manifestations of birth experience and environment. This interdisciplinary forum will consider how our cultural representations of the subject influence our approach to childbirth itself. The event will draw on visual theorisations of women’s birthing bodies from the eighteenth century on; investigate visual readings of maternal identity in local and global cultures, and consider images and texts representing birth events and birth environments.
This will be a unique opportunity for researchers and practitioners to explore/discuss the visual and sensorial culture of birth, and to contribute to our re-imagining of this fundamental personal life experience for mother and child. Central to the vision of this project is the ambition to build connections between interested parties, providing a forum for transcending current knowledge silos and contributing to innovative change in this important personal/cultural domain of human experience.
To this end, we call for papers, presentations and also welcome workshop proposals that focus on interaction among delegates. Our invitation is open to visual cultural theorists, historians, feminists, midwives, medical practitioners, social scientists, writers, artists, designers, architects, etc. We hope this project stimulates the sharing of papers that explore perceptions of birth experience, culture and environment – how birth has been seen in the past, how it has come to be seen contemporaneously through diverse perspectives and how the future of childbirth might be imagined/re-imagined, through visual forms of representation and expression.
While we welcome traditional academic papers, we also encourage creative methods of delivery that may include performance and visual arts approaches. There will be two ‘panels’ initiated by the convenors, with the invited participants. Each panel will focus the discussion of the day around one of two large ‘arenas’ of interest:
- Birth: Visual Image/Visual CultureThis panel will consider representations/perceptions of the lived experience of childbirth in visual culture from 18th century onwards and contemplate the ways birth was/is portrayed in art historical, non-medical contexts, and the contribution that medical professionals have brought to an evolving visual culture of childbirth and the birthing body. Topics may include but are not limited to:
representations of birth in art; image and body politics of childbirth; birth and feminist art practice; visualizing birth in medicine; birth as liminal experience; censored/censoring images of birth; visual readings of birth in Ireland; portrayals of birth interventions; maternal visions; images of the Maternal; imagining/re-imagining the Maternal Taboo; symbolic/images of the reproductive cycle; images of fertility and reproduction; folk customs, cultural rituals of fertility and reproduction locally and globally; mythologies of the birthing body; religious representations/discourse of reproduction; imagining gender and biomedicine of childbirth; visual technologies of/for the birthing body; imagery of the “changing” body: rebirth and metamorphosis; obstetric museums – focus and design; birth anatomy – anatomical representations of childbirth.
Submissions for Birth: Visual Image/Visual Culture should be sent to Martina Hynan. Please use Reimagining Birth as the subject line.
- Birth: Visual/Sensory EnvironmentThis panel will address the potency of the visual and sensory environment and its affect/effect on the birth process, considering phenomenological aspects of physical and ephemeral architecture as mind/body experience in space/form/time. The evolution of the birth environment: home to hospital to birth centre; ‘labour ward’ to ‘private labour and delivery room’; ‘natural’ to ‘industrial’; ‘homely’, ‘fashion-conscious’ or ‘five star’. The focus is not limited to the labour room – consideration of birth environment includes a more comprehensive set of spaces.
Presentation, papers and proposals might include (but are not limited to) the following topics:
representations/visualisations of imagined or actual historic, contemporary or future birth spaces/places/architectures; planning, systems and political stances that impact birthspace design; philosophical/theoretical approaches to re-imagining future birth environments; focus on the newborn and psychophysiological experience; natural and artificial lighting: physical and psychophysiological implications for birth processes and experiences of mother and newborns; environmental colour relevant to birth spaces; visual, olfactory, auditory and other sensory/multi-sensory or cross-modal factors relevant to birth experience; materiality and tactility studies on birth experience/environment; design and use of furnishings for birth environment; temporality of birth experience and spatial attributes; narratives from participants, whether mothers, partners, midwives, nurses, doctors related to environment; poetic evocations – literary writings about birth which evoke images of birth environment; feminist approaches to architecture as space/form/time relevant to birthspace; medical and social sciences studies of birth experience/space; consciousness studies related to birth and labour; accommodating diversity in multicutural settings; respecting indigenous and local cultures and ‘genius loci’; biophilic and salutogenic approaches to birthplace architecture
Submissions for Birth: Visual/Sensory Environment should be sent to Doreen Balabanoff. Please use Reimagining Birth as the subject line.
Abstracts should be 500 words or less, together with a short bio of 250 words or less. Please include a cover sheet with name, institution, department, and contact information. Documents should be submitted as a PDF.
Deadline: Abstracts and bios should reach us on or before 5pm, Friday 12th April, 2013. Notification will be on Friday 10th May 2013.