Scripting Prophecies, Part 1

The Mountain of Art Research (MARs) is based in the Department of Art at Goldsmiths College, University of London. A bit like a research centre, except it’s a mountain, MARs supports and promotes the development of innovative art research across a range of  practices including - but not limited to - studio, performance, film and video, curatorial, critical, art-writing, situated, participatory and interdisciplinary practice. Committed to rigorous formal experimentation, maverick conceptual exploration and socially-engaged articulation, MARs emphasises the material ‘stuff’ of art research as much as its speculative possibilities and political imperative.Through MARs we bring together researchers within Art, across disciplines, between institutions and beyond higher education for intentional, concentrated discussion and sharing of research.As both platform and ethos, the aim of MARs is to challenge received ideas and habits; to promote new ways of thinking and being both in and out of this world.MARs is linked to and supported by the MPhil/PhD Programme in the Department of Art at Goldsmiths College, University of London.

Mountain of Art Research - Goldsmiths

ART RESEARCH SEMINAR Led by Teresa Calonje, Giulia Damiani, Barbara Mahlknecht Accommpanying image is a statue of Saint Lucy in Coimbra, Portugal and a waterfall at Pulo do Lobo, Portugal. (Photos by Giulia Damiani) This seminar presents the organisers’ approach to the questions of the translation, archive and theatricality. We will consider what possible relations can be generated by thinking together departing from our individual research and playing with these three terms. The seminar will speak in the negative: we will look at that which cannot be translated and the untranslatability as a strategy to resist appropriation. We will look at the way archives, material and virtual, cannot be affirmatively reproduced and need to be articulated in non-linear ways that open up new possibilities and imaginary futures. We will test the potential of theatricality – a word also used to indicate the deceptive nature of women – to be the failure of being in the present, a dangerous displacement away from the confines of identification or the space of theatre. Curating, dramaturgy and letter-writing are suggested as practices of caring, a notion that is considered here in relation to lamentation and continuous wailing. Furthermore, the seminar enacts and interrogates the notions of distance and proximity in relation to the archive, theatricality and translation to nourish different modes of being within these subjects. What kind of connections with the past and the future can be conceived by re-visiting, ex-hausting, shaking the origins of these terms? Following the organisers presentation, the participants will be invited into a conversation. How to deal with a conversation that is already theatrical, already at a distance, already written for its appearance, already public? Exposed to the other, an intruder, an interceptor, an alien, someone from another space? Private stories, theory and theatricality will be exposed and performed. This will be followed by a workshop that will focus on the collective close reading of excerpts from Anne Carson, George Didi-Huberman and Hito Steyerl. Scripting Prophecies, Part 1 will shape the programme of a longer series of seminars by the organisers.
Bios Teresa Calonje has a background in Art History (Complutense, Madrid and Sorbonne, Paris) and in Political Economy and Development Studies (SOAS, London) and is currently a PhD candidate at Goldsmiths College, University of London. Her research focuses on the possibilities and impossibilities of appropriating the moment of live art. More recent curatorial projects include: the publication of an anthology of essays and interviews on the collection of live art works, Live Forever. Collecting Live Art, London and Cologne, Koenig Books, 2014, a curatorial residency at Delfina Foundation, London, 2016, and a series of commissioned art interventions at Second Home, London, which included Untitled (Signed), 2016, a writing performance by Julien Bismuth, Pilvi Takala’s undercover intervention and film The Stroker (Personnel Touch), 2017, and News from Second Home, 2016-2017, a private correspondence by Dora Garcia. Giulia Damiani is a writer, curator, translator and tutor at Goldsmiths University in London. She’s currently completing her PhD (AHRC scholarship) focusing on writing, prophecies, a feminist archive from Napoli and collaborations with performers. Her work for galleries and various global institutions has been funded by public bodies such as the European Cultural Foundation and the Italian Ministry of Cultural Heritage and Activities; she disseminates her research widely through publications and talks. In May 2017 she presented the performance How to Sing a Prophecy at Santarcangelo dei Teatri (Italy). In August 2017 she completed a writing residency at Pivô, São Paulo.  Barbara Mahlknecht is a cultural researcher, curator, and art educator. She currently holds a position as a lecturer and researcher at the Academy of Fine Arts Vienna. Her work in curating, research and art education strongly relates to feminist curatorial practices, the archive and the exhibition as performative spaces, socially/politically engaged curatorial practices as well as critical art education. She has (co-)curated a variety of projects––e.g. Verbinden/ Vetreten/ Verteilen/ Vermitteln/ Verhandeln. 70 Jahre Tiroler Künstler*schaft (Tiroler Künstlerschaft, 2016); Uncanny Materials. Founding Moments of Art Education (xibit, Academy of Fine Art Vienna, upcoming) A Proposal to Call (exhibition, Kunsthalle Exnergasse Vienna, 2015); Projecting out into the Community (interview project, 2013); Producing Publics—Presence as a Strategic Tool? (conference/publication, Galerie für zeitgenössische Kunst Leipzig, 2012) et al. She is currently working on her Ph.D. (AHRC scholarship) that examines the intertwining of the labour of curating, social reproduction, and historical and contemporary feminist debates and struggles. Suggested Reading
<UL>
<LI>Anne Carson, Cassandra Float Can. See: <A HREF="https://soundcloud.com/92y/anne-carson" TARGET="_blank" DATA-MSYS-CLICKTRACK="0" REL="nofollow noopener noreferrer">https://soundcloud.com/92y/anne-carson</A>, from minute 2.46 until 28.00. </LI>
<LI>George Didi Huberman, Glimpses. Between Appearance and Disappearance. Fragments of a collection in progress. Zeitschrift fur Medien – und Kulturforschung, Volume 2016 (7), pp. 109-124.</LI>
<LI>Hito Steyerl, The language of things, 2006. See: <A HREF="http://eipcp.net/bio/steyerl" TARGET="_blank" DATA-MSYS-CLICKTRACK="0" REL="nofollow noopener noreferrer">http://eipcp.net/bio/steyerl</A></LI>
</UL>
Readings available at the following Dropbox link: <A HREF="https://www.dropbox.com/sh/0r70gdblz43h2l3/AADYfwfduP9XNxvphbX5IKiza?dl=0" TARGET="_blank" DATA-MSYS-CLICKTRACK="0" REL="nofollow noopener noreferrer">https://www.dropbox.com/sh/0r70gdblz43h2l3/AADYfwfduP9XNxvphbX5IKiza?dl=0</A>

Deptford Town Hall, Room 109

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Scripting Prophecies, Part 1

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