Friday, 24 March 2017

Ana Naomi de Sousa - Forensic Architecture and International Crimes


When: Monday 27th at 4 pm 
Where: Cinema of the Elephant Studios, London South Bank University

Ana will talk about her work with the Forensic Architecture at Goldsmiths, a research agency that undertakes advanced architectural and media research on behalf of international prosecutors, human right organisations, as well as political and environmental justice groups. Forensic Architecture aims at producing and presenting architectural evidence for the pursuit of accountability. Ana will address some of the projects she has developed with the Forensic Architecture team for the digital platform, including: Saydnaya Prison project (Syria): http://www.forensic-architecture.org/case/saydnaya/; Black Friday project (Gaza): http://www.forensic-architecture.org/case/rafah-black-friday/; Drone Strikes project (Pakistan): http://www.forensic-architecture.org/case/drone-strikes/.


Ana Naomi de Sousa is a filmmaker and journalist from London, who has lived and worked all over the world. With a strong interest in politics, resistance, and the built environment, she writes for the Guardian and Al Jazeera among others, and her films have been broadcast and screened internationally, among them: Angola Birth of a Movement (2012); Guerrilla Architect (2014); The Architecture of Violence (2014); Hacking Madrid (2015) and Saydnaya (2016). 




Tuesday, 21 March 2017

Posthuman Curating

Posthuman Curating

Panel Discussion with Anne-Marie Schleiner (via video link), Michaël Borras A.K.A Systaime, Gaia Tedone curated and moderated by Magda Tyżlik-Carver.
@ The Photographers’ Gallery
Thursday 6 April, 18.30

The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums’ collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. While using digital objects and networked images to represent identities and conceptualise ideas about the world, the self and others, curating is firmly situated as an element of computational cultures distributing, constructing and performing ever new subjects, content, data, objects, and concepts.

This event will explore what and how is curated online. Showcasing three different practices of curating and making art online the focus is on what stories we tell, what objects are displayed and how they are performed through curatorial and artistic practices and strategies online.

This event is free and open to all but early booking is recommended. To book, please contact The Photographers’ Gallery on +44 (020) 7087 9300 or register online here

Anne-Marie Schleiner is engaged in gaming and media culture in a variety of roles as a critic, curator, anti-war activist, artist and designer. She has taught at universities and artist workshops and participated in art residencies in Germany, Belgium, Spain and Mexico. She has exhibited in international galleries, museums and festivals, most recently at the San Jose Museum of Art in California. Documentation of her performative culture work is available on the Video Data Bank. She holds a doctorate in Cultural Analysis from the University of Amsterdam, and is currently completing two book projects related to games, media art, activism, and global gaming. Her text titled “Fluidities and Oppositions among Curators, Filter Feeders, and Future Artists” published in Intelligent Agent Magazine in 2003 was a speculation on the future of curating and making art online. This talk will be delivered via video link.

Michaël Borras A.K.A Systaime is an artist working with multimedia and the networks. He is the founder of the movement French Trash Touch. Mixing pop culture, net culture and low and high culture, Systaime constantly plays with and embodies continuous and almost infinite heap of data that circulates via mobile phones, computers and online media platforms. His work has been exhibited in many shows and festival of digital art and culture including the most recent Athens Digital Art Festival (2016) and Ways of Something, Dreamlands (2016) at the Whitney Museum of American Art in New York. He works as a producer, organiser, speaker and art curator. He is a founder (since 2011) of the Spamm, the Museum of the Super Modern Arts which presents contemporary art projects by artists using glich aesthetics, post-internet art and other forms of digital and networked art. Since 2012, he is also a columnist for the tv show L’Oeil de Links broadcast on Chaine Canal +. He curated and co-curated a number of exhibitions including Spamm Cupcake» (2013) in New York with Ellectra Radikal; Spamm Dulce (2013) the Museum of Contemporary Art, Caracas/Venezuela with Miyö Van Stenis and Helena Acosta; Spamm Webtics (2014) in New York with Helena Acosta and Alan Schaffer.

Gaia Tedone is a PhD Candidate at the Centre for the Study of the Networked Image, London South Bank University and an independent curator with an expansive interest in photography and in the technologies and apparatuses of image formation. At the core of her research lies the question of how to produce new insights into the role and function of networked images and how to develop curatorial projects that also reflect back on the agency of the curator within contemporary image culture. Gaia holds an MFA in Curating from Goldsmiths College, London and was a Curatorial Fellow of the Whitney Independent Study Program, New York. Amongst her recent exhibitions: Dispositifs d’occasion, Comédie de la Passerelle project, Paris (2016); Twixt Two Worlds, Whitechapel Gallery, London & Towner Art Gallery, Eastbourne (2014-15); Shifting Gazes, Guest Projects, London (2013).

Magda Tyżlik-Carver is a researcher and curator based in UK exploring relational arrangements of humans and nonhumans and their biopolitical creations through posthuman curating and curating in/as common/s, future thinking, affective data and data fictions. Magda received her PhD from Aarhus University on the subject of posthuman curating and commons. She was also a researcher on a number of projects, including Future Thinking for Social Living and University of the Village (Falmouth University), and Remote Intimacy (University of Sussex and Fabrica). Her curatorial projects include exhibitions Participation (2007) the Poly, Falmouth; Gaslighting (2013) CMR, Redruth; and curatorial investigation/exhibitions such as playing practice (2009) Urbanomic, Falmouth; common practice (2010) Arnolfini, Bristol and (2013) Transmediale, Berlin; and Ghost Factory (2013, 2015) CMR, Redruth, and Falmouth University. She is currently postdoctoral researcher at the Centre for the Study of the Networked Image at London South Bank University. 

Tuesday, 14 March 2017

River Boats & Inner Thoughts

Andreia Alves de Oliveira's work River Boats & Inner Thoughts, is showing at Ə /UH/-BOOKS (London South Bank University), 14 – 24 March 14th March 2017.

Private View + Artist’s Talk with Guest: Tuesday 21 March, 7.00 - 9.00 pm

Photographer Andreia Alves de Oliveira will present her project River Boats & Inner Thoughts, a calendiary of the boats navigating the Thames and subjective, psychological states. Issued daily in digital format using the online platform Facebook, it is a work about surveillance (of exterior life and of the self), about the river Thames and its current role in the city, about the relationship between outside and inside.  Its scripto-visual form expands on traditional documentary strategies and proposes a comment on the use of social media. 

Andreia will be in conversation with mindfulness teacher Andy Paine, exploring the relationships between her work and the practice of mindfulness. Andy will talk us through the allegory of Inner thoughts as River Boats and offer a brief experiential taster of meditative awareness practices. Thoughts in the mind are like boats on the river. Allowing them to float by freely enables inner calm and a greater degree of freedom in interacting with the outer world.

Andreia Alves de Oliveira is a photo artist and researcher based in London.

Andy Paice used to be a buddhist monastic, he now teaches mindfulness in community and business settings, is a life coach and in his spare time is a campaigner for a more participatory democracy.

Ə /UH/-BOOKS PROJECT SPACE FOR MATERIAL PUBLISHING
curated by paula roush
103 Borough Road  (London South Bank University Student Centre) London SE1 0AA                      

Open Monday through Friday, 9am–9pm

ə-books is located in two galleries recto & verso
recto gallery: Borough Rd (free access)
verso gallery: Kell St (access via reception upon request)



Tuesday, 31 January 2017

Summoning art to solve “housing crises”: Dark networks of art assisted „housing regeneration“ in London

Semianar by Ana Vilenica, ACI, Marie Curie Fellow


  
Where: Borough Road Gallery
WhenTuesday 7 Feb 2017, 4:00-5:30 pm

This research presentation will focus on my current work tackling issues around role of art in “housing regeneration” processes, including social cleansing. By analysing art and housing social networks I will try to answer how and by whom is art used as a tool for social engineering of our cities. My intention is to expose obscured social antagonisms within these networks. I will debate about the effects of art-assisted transition from current state of housing to regeneration of ‘opportunity areas’. In addition to this, I will look into effects of property guardianship schemes in “decanting” process and artistic efforts to museumize traces of disappearing life. 


Dr Ana Vilenica is a Marie Curie Post-doctoral research fellow on School of Art and Creative Industries, London South Bank University and housing campaigner. She is co-editor of the book On the Ruins of Creative City, (kuda.org, Novi Sad, 2013) and editor of the book Becoming Mother in Neoliberal Capitalism (uz)bu))na))), Beograd, 2013). Her research interests are: urban regenerations and role of art and culture, art and housing, housing movements, radical knowledge productions, motherhood and social movements. 

Monday, 30 January 2017

Theatre as a Mediatised Practice


TaPRA Performance & New Technologies Working Group Interim Event

Call for Papers / Presentations
Call deadline: 24 February




Where and when:
 20th April, Birkbeck College, University of London
21st April, London South Bank University (LSBU)

Confirmed Keynote Speakers
Prof. Matthew Causey (Trinity College) (20th April @ Birkbeck College) & Prof. Andy Lavender (Surrey) (21st April @ LSBU)

Book Launch & Wine Reception
Launch of Intermediality and Spectatorship in the Theatre Work of Robert Lepage: The Solo Shows(Aristita I. Albacan, 2016). Wine reception and conversation with Professor Christopher Balme (Ludwig-Maximilians University Munich) (21st April, LSBU)


Mediatisation – the increasingly pervasive influence of new media technologies in the form of social institutions and ideological apparatuses on society, culture and consciousness since the late twentieth century – has radically shaped our everyday lives and relationships. Mediatisation as a social and cognitive phenomenon has changed the way theatre and performance are produced, shaped, performed and perceived. This shift has led to a state where there is nothing left outside of mediatisation. Hence, we argue, all contemporary theatre and performance today is mediatised.

The mediatised theatre and performance of the 21st century propose a practice, and offer ground for the development of a scholarship, in which ontological boundaries between media and performance, live and mediatised, analogue and digital, are no longer useful or even possible to consider. Mediatisation lies within the aesthetic and political [un]consciousness of the works, whichever form or manifestation those choose to take. It is, directly or implicitly, embedded within their architectures, dynamics, and processes; we might even argue that, in some ways, mediatisation is the works. 

This two-day symposium seeks to investigate the processes and practices of mediatised theatre and performance in the 21st century with a particular interest in such questions as: How does the mediatised theatre and performance of the 21st century engage with digital culture and labour as, partly, products of capitalist ideology and economy? Is there potential for resistance (in the wider understanding of the term) within theatre as a mediatised practice? Or, to use Stiegler’s analogy, can theatre and performance approach the digital as a pharmakon in order to engender social ‘remedy’, opening up critical spaces for resistance and dissensus in contemporary neoliberal culture?

We invite submissions for research papers and presentations that explore theatre/performance as a mediatised practice. Submission can respond –but are not limited to – to the following areas of investigation:  

-       Aesthetics and politics of mediatisation in contemporary performance
-       Forms and practices of resistance in contemporary performance
-       Postdigital performance 
-       Alternative modes of writing for/in mediatised theatre
-       Text and immateriality in mediatised theatre and performance
-       Emerging critical mediaturgies
-       New methodological approaches, and practice-as-research methodologies
-       Mediatised performance as a response to ‘postpolitical’ times
-       Spectatorship and structures of power in mediatised performance
-       Digital (cheap) labour and performance
-       Embodiment and materiality in mediatised performance

Submissions can include papers, practice-as-research presentations and/or demonstrations, sharing of work in progress, provocations and other scholarly interventions.

Please send 250 word abstracts along with a short biography (50 words max) to m.chatzi@lsbu.ac.uk ands.ilter@bbk.ac.uk by February 24, 2017.  Please include full details of any technical and other requirements for presentations with your submission. The exact format and duration of the presentations will be decided as appropriate to the work in agreement with the event conveners.

 The Interim Event is Organised and Convened by
Dr Maria Chatzichristodoulou (LSBU) & Dr Seda Ilter (Birkbeck)
  
The TaPRA Performance and New Technologies WG Conveners are:
Dr Jem Kelly, Dr Christina Papagiannouli, Dr Jo Scott

This TaPRA Interim event is supported by the School of Arts and Creative Industries and the Centre for Research in Digital Storymaking at London South Bank University; the Birkbeck Centre for Technology and Publishing; Vasari Research Centre for Art and Technology (Birkbeck College, University of London);Birkbeck Interdisciplinary Research in Media and Culture (BIRMAC), and Department of English and Humanities (Birkbeck College, University of London).