@neoflagellants Panel 141 @IMC_Leeds 6th July 2015: 11.15-12.45 Neomedieval Aesthetics in the 21st Century https://t.co/kIQwdwTUIA
Medieval archetypes such as pilgrimage, liturgy, anchoritism, relic-ing, alchemy, banquetry, palimpsesting, mumming, compagnonnage, gifting and commoning are popular practices and themes in contemporary art. Why are so many artists mobilising metahistorical anachronisms to explore their contemporaneity – recalibrating and reactivating a variety of premodern ideas as vehicles of renewal – in ways that are best described as neomedieval? This panel of artist-theorists will speculate on neomedievalism’s aesthetic potentialities, from the elasticated loops and folds it presses on our ideas about history, to the untimely visions of differing non-modern futures it can help us to invoke.
2/6/15 I gave two short presentations at the ISRF Workshop: Social Science as Communication #Summerhall #Edinburgh http://t.co/yikqyqNS4i on:
Atelier: Making Research Material Across the Creative Arts & Social Sciences
In recent years, there has been a growing concern with materiality as a field of enquiry across the arts, humanities and social sciences. Not to be confused with the field of ‘material culture studies’, or with ‘historical materialism’, emerging research calls into question the binarism and anthropocentrism of critical theory and the cultural turn. The ‘new materialisms’, in their different ways, speculate on how things are material, singular and/or entangled. They have radically redefined post-human politics, agency, corporeality, criticality, representation, and time. In response to these concerns, a group of colleagues from the University of Edinburgh’s College of Humanities & Social Sciences established the Visual & Material Research Group, a network of arts and social sciences scholars and staff from museums and art galleries in Scotland.
Our meetings have foregrounded a number of ways in which disciplines within CHSS and our non-HEI partners each have their own protocols and methods for making material available for study in the form of objects. Yet, as we make radically distinct objects from the same material, what remains to be formulated within this multidisciplinary field are the concepts, equipment, and techniques that would generate the truly collaborative ability to fabricate common research objects.
How will the work be carried out?
Visual & Material Research Group recently formalised their research processes, academic and non-academic partnerships in the form of a network project entitled Atelier: Making Research Material Across the Arts and Social Sciences. The aim of the network is to develop models of making and enquiry that can bring together often separate visual and material research practices within the social sciences and humanities through the creation of an ‘Atelier’. Our Atelier is a commons that allows us to make shared research ‘objects’ through collaborative research practices.
A series of charrettes – participatory workshops involving interested colleagues across UoE and partners in the museum and gallery sector – will, in turn, focus on a particular object that will facilitate and contrast different methods of material enquiry. By engaging with ’things’ in the custody/field of our non-academic partners the charrettes will enable us to map and improve conditions for cross-disciplinary collaboration, shifting the emphasis away from doing research towards the creation of research objects.
Closing Keynote for CHEAD Regional Seminar on The Role of Contextual Studies in Art School Education, The Glasgow School of Art 16/4/2015
I specifically address how the Juche mentality operates internally in art schools. Key to this is the connection between the liberal use of the euphemism ‘integration’ in art schools and how it’s used to manufacture folk devils by opponents of multiculturalism. In this framework, ‘studio’ is implicitly presented as the righteous indigenous territorialised community and ‘context’ as other.
When departmentalism is considered as a community of practice ‘integration’ can be understood as a latent form of monculturalism and assimilationism, one aided by the monotechnic roots of art schools. This is anathema in terms of how knowledge is produced today.
Connected to this is the assumption that the art and design curricula are fine and just need tweaking. In fact, like any exceptionalist Juche-style regime, they are fundamentally flawed and need to be rebuilt from scratch. That can only happen through a radical transformation of the art school’s community of practice so that it is symbiotic with international communities of knowledge production.
January 23rd 7-9pm
January 24th- February 1st
Artists: Thomas Aitchison, Antonia Banados, Tessa Berring, Kirsty Boutle, Kate Bowe O’Brien, Emma Bowen, Carolyn Burchell, The Confraternity of Neoflagellants, Anna Danielewicz, Tim Dodds, Soosan Danesh, Mark Doyle, Micha Eden, Joe Etchell, James Findlay, Brittonie Fletcher, Greg Fullerton, Andrew Gannon, Richa Goel, Keith Guy, Lydia Honeybone, Rebecca Horne, Irvine and Noble, Daisy Lafarge, Suzanne van der Lingen, Kate Livingstone, Stephen Kavanagh, Morgan Kinne, Mirja Koponen, Elizaveta Maltseva, Michele Marcroux, Alessandro di Massimo, Lara MacLeod + Peter Amoore, Angela McClanahan, Scott McCracken, Lesley McDermot, Magaret McGovern, Eilidh McPherson, Dylan Meade, Phoebe Mitchell, Kyle Noble, Anna Oberfeld, Robby Ogilvie, Ortonandon, Santiago Paulos Wood, Matthew Poland, Emma Potterill, Jordan Pilling, David Reid, Sat With Fruit, Cate Smith, Nectarious Stamatopoulos, Tara Stewart, Willem Venter, Devin Wallace, Gosia Walton, Susana Wessling
January 23, 2015
School of Art, Edinburgh College of Art, University of Edinburgh (Hunter Lecture Theatre), 10.00 am
with Hans Abbing, Evangelos Chrysagis, The Confraternity of Neoflaggelants (Norman James Hogg and Neil Mulholland), Angela McClanahan, Georgios Papadopoulos, Stevphen Shukaitis, Marina Vishmidt
Taking its cue from debates surrounding the contested character of value in artistic production, this one-day symposium presents an interdisciplinary take on the issue by bringing together scholarship from the fields of anthropology, art and critical theory, Marxism and economics. Some of the areas that the participants will address include the following:
Aesthetic value and processes of urban regeneration
Speculation and art production
Ethical values and economies of affect
Emotional labour, entrepreneurialism and self-precarization
Technologies of value and digital media
Neo-medievalism and hyper-economies
A play featuring things from the Scottish Arts Council’s Glasgow Gallery (1968-74) and the first ten years of Third Eye Centre, Glasgow (1975-86) based on www.glasgowmiraclearchives.org
Commissioned by ‘The Glasgow Miracle: Materials for Alternative Histories’, Glasgow School of Art. Click on the image below to read the play: