@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.
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
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
L’étranger broadcasts every possible Tuesday 21h00 – 22h00 (CET) on Radio Panik 105.4FM. A relational outburst. Scrambling fluxional artcore, weird paper chewing savants, occulture whispers …
Lined up to be scrambled with interjections and overlays from portable short-wave radio and busted tape deck: Officer!, London Sound Survey, Powerage, The Confraternity of Neoflagellants, Norymberga, Cosmic Dennis Greenidge, DJ Zenda, Guenter Schlienz, Dobri Isak, The Murphy Working Stiffs, Terry Cole-Whittaker, Disism, Anne Chris Bakker, Henry Holmes, Old Man Bondage Machine, Ilir Lluka & Jonida Prifti, Gentle Friendly.
The rubbled architecture of the semantic apocalypse is a jambient meshwork of infectious crypto-fictions, arche-hymns, cargo-cult objectiles and the untethered futurities of permanent collapse. A tentacular-empire-machine.
Swarming visions, speculations and transmissions are hereby retro-clothed in vaporware, to be neurocast for further maladaptation by the following memechanics of the salvaged future:
AAS, The Confraternity of Neoflagellants, Plastique Fantastique, Head Gallery, Jillian Mayer, WE, English Heretic, Michelle Hannah, Benedict Drew, POLLYFIBRE, The Cult of RAMM:ΣLL:ZΣΣ, Xempeer and Kornelia Remø Klokk.
Dane Sutherland has worked in partnership with Punctum Records to publish and distribute this project.
Exploit.zzxjoanw.Gen | Launch Event
Friday 30 May 2014 | 7-10pm
Exploit.zzxjoanw.Gen is a project by Satellites Programme Intern and curator, Dane Sutherland. He has worked with a number of leading artists to create new music, sound artworks and texts which will be available to purchase as a limited edition USB stick designed by Plastique Fantastique for £30. It will also be available from 31 May as a free digital download from the Collective and Punctum Records websites.
Performances on the night by: Plastique Fantastique, The Cult of RAMM:ΣLL:ZΣΣ and Kornelia Remø Klokk. Doors open at 7pm, performances from 8pm.
City Observatory |
38 Calton Hill, Edinburgh
EH7 5AA @1984_collective
The phenomena of détournement retains an everyday presence, from underground advertisements of perfume models, their teeth crudely blackened with a sharpie, to the organised propaganda of both protest movements and governmental PR. From anonymous scrawls offering puerile affronts, to the considered contesting of the omnipresent economy of visual culture and the effects it has upon us.
Borne of the Letterist International (and later fully established in the Situationist’s manifesto of 1958), détournement refers to the distortion, misuse, misappropriation, hijacking or subversion of an image or object’s intended purpose. Whether this takes the form of irreverent nonsense or a considered opposition, a destruction or subversion of the image or object is key. Having much in common with satirical parody, détournement uses a direct sarcastic mimicry of the original imagery to turn a mythologised expression against itself.
Using these techniques as a starting point, Detours: After Détournement brings together a group of peers that, intentionally or otherwise, all utilise the détournement ethos or modes of operation within their practice. Without intending to generalise the interests or agenda’s of the participants, Detours features twenty two artists expressing a variety of methods for altering found visual material.
All of the contributions to Detours will be shown on temporary display structures, free standing in the space, that are themselves an attempt to ‘detourne ’ the standard contemporary exhibition space and disrupt the physical flow of the show.