More specifically, in attunement with neo-animist configurations of the ‘non-human turn’, this paper evokes a cosmology in which aesthetics is not limited to the sensual relations between human self and world but instead describes a synesthetic hyper-economy through which all selves inscribed or enfleshed, animal, vegetable or mineral, represent, translate and interact across the otherwise separate realities they inhabit. As anthropologist Eduardo Kohn argues, a subject, self or mind does not produce signs but is in fact an emergent product of semiosis, of the way it represents the world and is represented by others in the world. In other words a self is a “loci of enchantment”—the non-anthropological outcome of aesthetic processes. Thinking aesthetics in this way intervenes provocatively with the notion of ‘visual literacy’ since it requires a non-symbolic conception of representation as a “open whole” that cannot be confined within human linguistic frameworks.
The Confraternity pursues their speculative cosmology through their ongoing fascination with the enchanted iconicity of medieval sacramental practices such as body part relic-ing. The ritual elevation, translation and sometimes humiliation of ‘person-objects’ epitomizes the dynamic interrelations between corpus and textus, likeness and presence and confounds the hierarchical segregation of ‘representing subject’ from ‘represented thing’.
The A/V presentation takes the form of an alt-future parable, following the synesthetic adventures of an independent broker of sensual exchange. Part corporeal, part corporate and part commodity, Muller Ltd. is a journeying apprentice, or ‘Junior Solution Aligner’, who is pursuing the ultimate ambassadorial title of ‘Universal Travel Adaptor’ by immersing itself in increasingly ‘alien’ centers of experience. As the parable unfolds Muller Ltd’s ‘powers of feeling’ increase dramatically, but only at the terrifying cost of dissolving its own corporeal branding (its iconic ‘equity’) into the synesthetic matrix. The parable thus takes a speculative look at the precarious integrity of visual literacy as it expands its territory into the non-cognitive or ‘illiterate’ realm of the non-human sensorium.
10:00 Friday 30th September 2016
Listaháskóli Íslands 11, Þverholt, Reykjavík, 105, Iceland
Neomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined ‘little middle ages’ to suit current agendas. To the neomedievalist, however, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities. Given its nonmodern condition, contemporary artistic practice has as much in common with the stasis of the middle ages as it does with the avant-garde of the 20th century. This lecture will present some of the ways in which The Confraternity have developed neomedieval materialisms with their own nonmodern lexicon, dense hypereconomic practices that combine production, transfer, consumption, humilitas and virtus.
The Confraternity will transfigure four scripts-into-flesh: When Transfiguration Became Commonplace, Thekarites, Mobilitas Loci (Muller Ltd.) and Let us know about anything wrong, or anything you don’t like about this review, and you could win a $50 Amazon voucher!
The Confraternity will also elaborate some of their curatorial projects (‘Thekaries’ / ‘Bokes’) and ways in which the quasi-neomedieval practices of their peers adopt ‘backward-thinking’ to develop possible premodern futures through a visceral, indulgent, lavish, liturgical and ludic materialism.
Shift/Work will run for three days 26-29 September 2016
11, Þverholt, Reykjavík, 105, Iceland
Neil Mulholland, Dan Brown & Jake Watts
Day 3 – 23. September, 2016
Confraternity of Neoflagellants: Envisioning Future Premodern Materialisms
Performing Situated Knowledges: Space, Time, Vulnerability: 7th Annual Conference on the New Materialisms, Institute of Philosophy and Sociology, Polish Academy of Sciences, Warsaw.
Organized by: New Materialism: Networking European Scholarship on ‘How Matter Comes to Matter’, European Cooperation in Science and Technology (COST), Action IS 1307
This conference is one of a series of new materialism conferences that together aim to explore, through both theoretical and practical multiple transversal methodologies and approaches, the notion that vibrant, agential “matter” matters and further, to investigate the ontological, political, ethical, esthetical, and sociological implications this may carry. This year, whilst acknowledging the fast approaching thirtieth anniversary of the publication of Donna Haraway’s groundbreaking essay on “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” (1988), we invite participants to explore, perform anew, and enliven the concept of “situated knowledges”.
Atelier: Daniel Miller
Atelier’s Dr Angela McClanahan will interview Daniel Miller @DannyAnth within the Still life with flying objects exhibition on Sunday 21st August. Hosted by @Rhubaba as part of @EdArtFest 2016
Rhubaba presents Still life with flying objects, a group exhibition that brings together new and existing work by artists including Tim Dodds, Susie Green, Emma Hart and Susan Mowatt. Thinking about objects and why we are drawn to make them, the show will present work by artists who paint, weave, make films and build. In Still life with flying objects liquid paint settles, takes form as a twig, shape-shifts into a piece of rope and later slips off as a snake; a tapestry keeps out the cold, hanging as a soft wall and holding collaged lumps in its weave; at home a camera pans scraping along the radiator, coming across an out of reach cobweb which reveals lost treasure. By reaching under the bed, knotting the yarn and looking through the porthole, the artworks in the show consider what the stuff we surround ourselves with is, how it is made and where it ends up.
Mr @taytoettayto reprise paleo-futurist potato-based performance for Nemoralia @ Jupiter Artland, 6th August 17:00 Edinburgh Art Festival 2016 https://www.jupiterartland.org/whats-on/nemoralia
The Atelier takes place in Trotternish, Waternish and Duirinish, Isle of Skye 9th-13th MAY 2016 with Atlas Arts http://atlasarts.org.uk
A charrette is an intensive participatory group that engages a common enquiry. Atelier, Skye is a three-day charrette wherein a group of artists, curators, academic researchers and members of Atlas Arts will work with a series of common research ‘objects’ located in the north of the Isle of Skye (Trotternish, Waternish and Duirinish).
Working with the charrette curators, ATLAS Arts have identified a series of sites and objects that will facilitate and contrast different methods of visual and material enquiry. These objects range from artefacts in local museums, to areas of outstanding natural beauty. By engaging with ‘things’ in the custodianship of Atlas Arts, our charrette 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.
We aim to assist Atlas Arts in meeting their aims and obligations as the primary arts organisation for Skye and Lochalsh and thus to the local populace. We will enable this by enlisting Atlas Arts to collaborate directly with artists, arts professionals and academics in the creation of common research objects. The charrette will transform participants’ understanding of what material research is, what it can be and of who/what might participate in it. We also hope to use our visit to establish an open access online archive of the project, proxy distributed by Atlas Arts, that will ensure Atelier’s methods are available to artists, researchers and educators working with comparable community-based and site-sensitive organisations.
What is ‘Skye’?
For the purposes of this project, Skye functions as host environment for engaging a broader community of academics and non-academics in contemporary art and materialist research. It is both a slowly changing land mass and a more rapidly transforming series of agents, things and discourses. ‘Skye’ is a contingent object, one in an ongoing process of flow and growth. Following the material-turn, it is appropriate that we do not presuppose a singular thematic or disciplinary approach towards ‘Skye’. This is why participants will work only from things hosted by the island, discovering a varied flow of entanglements over the duration of the charrette. Our initial meetings with Atlas Arts Director Emma Nicholson established our objects of enquiry, the journeys our research group will make around the island, the iterative structure of the charrette research process and the ways in which we will document this.
What is ‘Atlas Arts’?
Based in Portree, ATLAS Arts seeks to be a pioneering producer and commissioner of contemporary art that will create connections between artists and audiences, and respond to the unique qualities of this region, its landscapes, its culture and its people. http://atlasarts.org.uk