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Northumbria-Sunderland CDT conference 2017

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Date and Time

Location

Location

Baltic Mill

(1st Floor Event Space)

Gateshead

NE8 3BA

United Kingdom

Event description

Description

The event aims to vocalise, discuss and work through many of the topical issues of conducting practice-based research and similar research and to explore how this research is shaping our world.

This conference will bring together people to explore the many aspects of knowledge production within, across and beyond academic institutions. We welcome people to come along if they are interested and attend for part, or all of, the day.

There will be a number of sessions chaired by invited guests from the UK's Art and Design scene. These sessions will involve a number of researchers sharing something of interest from their recent research practice for up to 10 minutes. Alongside the presentations, everyone present is invited to discuss anything of interest with fellow participants in and around he session. The conference will end with an informal longtable discussion with refreshments and a closing speaker.

Times:

0930 – 1000 Coffee and registration

1000 – 1015 Opening of conference by AHRC CDT directors

1015 – 1130 Parallel sessions 1 & 2

Session 1: Diagrams and non-philosophy, Guest speaker Alice Rekab plus members of CDT

Session 2: Paragogy and the Digital. Guest speaker Jake Watts, plus members CDT

1140 – 1255 Parallel sessions 3 & 4

Session 3: Anarchy and Practice, Guest speakers Marc Garrett and Ruth Kinna, plus members of CDT.

Session 4: Territory, Site and Resistance. Guest speakers Diann Bauer and Laura Sillars plus members of CDT

1300 – 1400 Lunch

1400 – 1515 Parallel sessions 5 & 6

Session 5: Performance and Practice. Guest speaker Adian Rifkin plus members of CDT

Session 6: Text as work, Text as portal. Guest speakers Katharina Ludwig and Gillian Whitely plus members of CDT

1525 – 1545 AHRC CDT Summary

1545 -1630 Long Table discussion and Refreshments

FINISH 1630




Guest speaker information


Diann Bauer:

Diann Bauer is an artist and writer based in London. Much of her current work is collaborative and interdisciplinary, projects include:

  • Laboria Cuboniks, a working group redefining a feminism adequate to a global 21st century with whom she wrote and published Xenofeminism, A Politics for Alienation in 2015.(laboriacuboniks.net).
  • AST (the Alliance of the Southern Triangle http://a-s-t.co/#Home) a collaboration with 2 architects and a curator in Miami developing interdisciplinary projects that address global climate change, cities, real-estate development, taxation, insurance schemes, terraforming, statecraft and art.

For her presentation at the conference, she will use these two projects to discus how she navigates the different kinds of thinking involved in discursive vs visual practices, raising the question of how can these different types of thinking and research be most productive for one another?


Marc Garrett:

Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College


Ruth Kinna:

Author Ruth Kinna is Lecturer in Politics at Loughborough University, UK. She is the author of William Morris: The Art of Socialism and co-editor of the journal Anarchist Studies. Her research focuses on socialism and anarchism in 19th century Britain.


Katharina Ludwig:

Title t.b.d
In my practice-based PhD research I am examining various temporalities related to art writing. For my presentation at the CDT conference I aim for an experimental format of a performative reading and slideshow projection that simultaneously lays out, interrogates, doubts and tests my current research in textual interruption and narrative holes and gaps.

Starting from the question of what ontologically constitutes a physical or metaphorical hole inside a text I plan to construct a journey of non-linear narrative time travel. For example footnotes, annotations, words between parentheses and other insertions all create a rupture in a text. By starting a simultaneous dialogue in the margins in addition to the text these transport the reader to another place, time or context from which they have to find their way back into the time/space of the text. Repetitions and stutters also interrupt the text
and create feedback- loops oscillating between different temporalities.

By applying the science fiction trope of time travel, I examine possible ways to transport the audience between different texts, temporalities, supporting materials and places.

A hole interrupts the linear text, cuts it open, breaks it, dissects it, terminates it – leaves it in fragments. A hole can be an entrance and an exit. The way in and out. It can be regarded as both the mark of a violent act and a portal to, or connection with, other “underground” areas.

If the hole in a text is produced by a violation can it be considered a wound? Etymologically, the term trauma derives from the Greek word for wound and applies to physical and psychological violation. Therefore I would like to investigate the notion of the “traumatised text”. One temporality and characteristic of the psychological trauma (as e.g. in PTSD) – not dissimilar to time traveling – is the re-experience of the trauma at a later stage. Through the hole of the wound past events re-erupt and seep into the present. The traumatic event is re-lived, re-experienced and repeated.

Furthermore the hole can be regarded as a portal or a hideout, an underground space for resistance or revolt, as Deleuze and Guattari argue. The “holey space” is only insufficiently controlled by the authorities and acts as a dwelling for the “other”. It is a space of complexity and contradiction. Hence, the hole here is not only a portal to another “zone” but also a place of inhabitation, connected with but apart from multiple spaces.

I will examine and present the topic through spoken-word, voice, written text, rhythm, images and video. The presentation will navigate between various temporalities as well as between different formats such as academic research presentation, anecdotal segments, poetry (language with holes), the factual, the actual and the fictional.

Biography
Katharina Ludwig is an artist and writer working with language, installation and objects. Currently she is a practice-based PhD candidate at Edinburgh College of Art (funded by Cusanuswerk e.V.) . She holds an MFA in Fine Arts from Goldsmiths University of London (UK) and a BA from Design Academy Eindhoven (NL).

Recent exhibitions include Bank Side Gallery (UK, 2017), Herrmann Germann Contemporary (CH, 2016), Kunstquartier Bethanien (DE, 2016). Other shows and residencies include Work/Leisure, Abingdon Studios (UK, 2016), Grand Union Gallery (UK, 2015), Salon Dahlmann (DE, 2015), Kunstverein Östliches Sauerland (DE, 2014), Aesthetica Art Prize (DE, 2014), Museo di Arte Moderna et Contemporanea di Trento et Rovereto (IT, 2013), Galerie BSL (FR, 2013) and the van Abbemuseum (NL, 2011).

Her works are part of public and private collections such as the Miettienen Collection (FI/DE) and her writing has been published a.o. by 3:AM Magazine. Katharina lives and works between Berlin and Edinburgh.


Adrian Rifkin:

In recent years I have been doing ‘talks’ which, following the language of contemporary art forms, without any pretention to being one, I call ‘site specific enunciations’. These have, I guess, stripped the second syllable out of the word research in favour of tring to work with what was not exhausted in the already-done, trailing through old notes and preparatory versions of published work, books read in childhood and university philosophy, tunes, musics, movies, to reassemble the already known as a means of not repeating myself. I will do one for this site, today.

Adrian Rifkin works with film and cinema, classical and popular music, canonical art and mass imagery, literature and pornography. Until recently he was Professor of Art Writing at Goldsmiths. Rifkin's full biography, many of his essays, as well as his blog can be found on his website http://www.gai-savoir.net , where there are essays on music, queer theory, artists' work and so forth.

He completed two exhibitions of the life and works of the composer Cornelius Cardew, together with Grant Watson, at MuHKA, Antwerp and The Drawing Room, and is involved in a range of conferences on art education and radical pedagogy in the UK – a contribution to this can be found on eflux Journal No 14.


Laura Sillars:

Laura has worked in contemporary visual arts for fifteen years at Tate, FACT, the Liverpool Biennial, the Abandon Normal Devices festival and Artangel. She currently serves on four boards: FutureEverything (Manchester), Workplace (Gateshead), Engage and AHRC (national). In 2010, she completed a Clore Leadership fellowship during this time she produced Artangel’s first US commission with artist Mike Kelley in Detroit and undertook a Research Fellowship at Goldsmith’s University.

With a BA in History/Art History from the University of York and an MA in Modern Art History at the Courtauld Institute of Art, she is a current Leverhulme Doctoral scholar at the University of Durham investigating traces of post-internet politics in contemporary art practice.

Paper details:

Photographic Resistance

What are the epistemological limits of the photograph? Can a photograph operate as a site of political resistance? Is the sublime an anathema in a post-modern, ‘post-internet’ cultural milieu?

Working with Trevor Paglen’s 2010 photographs of secret military bases in his ‘Limit Telephotography’ series, this paper investigates methodologies in contemporary photographic practice addressing the questions above. In making work that can travel on the internet as well as on the white walls of art galleries, his work can be seen to be a carefully constructed aesthetic product designed for very different types of human and machinic consumption. Glancing, gazing and visual grazing are considered as modes of visual consumption with which artists must deal when considering a twenty-first century audience. I will argue that ultimately, in seeking to render visible, secret and invisible structures of the industrial military complex, Paglen asserts the ‘right to look’. However, I will also suggest that these images are ambivalent, recalcitrant objects operating in unexpected ways. The net result is a set of images that are not quite what they seem to be at first glance.

Key words: Photography, politics, agency, subjectivity, big data, machine-to-machine seeing, ‘post-internet’, visual culture.


Jake Watts:

Collectively Producing Knowledge

Within practice-based research the workshop holds open a vital and practical space/time between the studio and the humanities. The workshop’s paragogic nature allows us to collectively negotiate the production of artistic knowledge, learning from one another in this process through forms of embodied, distributed, and extended cognition. In this sense, the workshop facilitates a metacognitive engagement with otherwise under-considered practices of artistic learning and research. It is an environment that help us to question the epistemological boundaries of knowing and not-knowing, enabling us to query what could be learnt, how might it be learnt, and when these practices – and the knowledges they produce – could be most usefully employed.

For the AHRC CDT Event Jake will present a short overview of these concepts, drawing on his own practice-led research into workshops within artistic learning to pose questions regarding the production of practice-based knowledge and how we can learn from it.

Bio: Jake Watts is an artist, tutor, and AHRC-funded PhD candidate at the University of Edinburgh. His practice-led research is into Workshops: Developing Participatory Environments for Artistic Learning. During his PhD Jake has also been a co-director of EMBASSY Gallery, a member of Shift/Work, and also co-produced Cursor with artists Kirsty Hendry & Dave Young.



Gillian Whiteley:

Dr Gillian Whiteley is based at School of the Arts, English and Drama, Loughborough University (LU) where she is Senior Lecturer in Critical and Historical Studies and Coordinator of the Politicized Practice Research Group (PPRG). Interests include historical and contemporary practices of creative dissent and ludic protest, art and activism, bricolage, materialisms and detritus. Publications include ‘Welfare State International’ in J.Bull and G.Saunders (eds) British Theatre Companies: From Fringe to Mainstream, (2016); ‘Schm]alchemy: Magical sites and mischievous objects – episodes in a performative inquiry into the transformative and disruptive potency of stuff’ in Body, Space, Technology Journal (2016); ‘Regimes of Value: Sensuous Stuff, Entangled Objects, Undoing the Order of Things’ (ex cat) Victoria College of the Arts, University of Melbourne and The Substation, Newport, Melbourne (2013) www.regimesofvalue.com and Junk: Art and the Politics of Trash (2010). She is currently working on the project Art, Politics and the Pamphleteer and a collaborative project around Art activism and political violence. www.bricolagekitchen.com

Date and Time

Location

Baltic Mill

(1st Floor Event Space)

Gateshead

NE8 3BA

United Kingdom

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