Seminar 80 // 18, 19, 20, 21 March 2020 // London


Curatorial/Knowledge Seminar, 19 - 21 March 2020


Thursday 19 March 11am - 5pm

Location: Deptford Town Hall, room G1

11am - 1.30pm Morning session

Practice Laboratory with Irit Rogoff

- Okwui Enwezor, ‘Reflections: Artistic director’ in Trade Routes Revisited: A Project Marking the 15th Anniversary of the Second Johannesburg Biennale: 1997-2012 (2012)
- Irit Rogoff, ‘Advanced Practices’ Practice Lab: ‘The Case Study’ (summary 23.1.2020)

All documents related to the Practice Laboratory can be found on the new Google Drive for the Advanced Practices Practice Laboratory:
If you have any issues accessing the drive please contact

1.30 - 2.30pm Lunch

2.30 - 5pm Afternoon session

Continuation of Practice Laboratory with Irit Rogoff

6 - 8pm Visual Cultures Public Programme
Location: Professor Stuart Hall Building, room LG02

Interlude: Institutions in Focus: The Gallery
Teresa Cisneros, Welcome Collection, Dr Karen Salt, University of Nottingham (TBC)
Respondent: Michaela Ross, Bethlem Gallery/Goldsmiths Department of Education

Part of the Visual Cultures Public Programme Spring 2020: "The Institution Overturned”. In this ten part series, legacies of Institutional Analysis are read as offering possibilities beyond the neutralised gestures of institutional critique. In their direct address of micro political and micro-fascist dimensions of institutional articulation, they offer modes of social interrogation and change that undo and re-make the habitual fabric of institutions. “The Institution Overturned” is organised by Anthony Faramelli (Visual Cultures) and Janna Graham (Visual Cultures) with the Network for Institutional Analysis



Friday 20 March 11am - 5.30pm

Location: Margaret McMillan Building, room 212

11am - 2pm Morning session

Manuela Moscosco

The session will be centred on three of the key references building the conceptual ground for the Liverpool Biennial 2020 The Stomach and The Port. We will start the session by actively hearing a song by the Afro-Columbian band Wganda Kenya, Shakalaodé (1976). We will look at the text Exchanging Perspective by the Brazilian anthropologist Eduardo Viveiros de Castro and Amazonian epistemologies, rethinking the body beyond its concrete physical boundaries will be the skeleton of our discussion. And we will also read the poem by Oswaldo de Andrade, published on 1928, key figure of Brazilian modernism proposing an argument of Brazilian “cannibalism” as a form of eating of other culture as the strength of its own.

My background as an artist has deeply influenced the way I think and work as a curator. At first, I did not consider curating and artmaking as differentiated fields, but as a continuation from working beyond the individual with others, establishing horizontal structures and long-term collaborations. I still continue to study the process of artmaking and its effects in the world. When looking into practices, I sketch out social and affective systems, cultural understandings and human conditions, since producing never occurs alone but in a relationship to others. I understand the practice of curating as a form of continuous learning from and with artists that is never the same, that is always unconventional. Every experience nurtures my curiosity, my desire to challenge status quos, foster speculative thinking and spark my imagination. This is why I see myself as a curator of practices rather than objects, since understanding how people research, create, think, produce, relate and disseminate work and ideas enables me to constitute visible and temporal contact zones, in the (expanded) form of exhibitions – creating encounters of similes, contradictions and conflicts. 

- Oswaldo de Andrade, ‘Cannibalist Manifesto’ (1928)
- Eduardo Viveiros de Castro, ‘EXCHANGING PERSPECTIVES: The Transformation of Objects into Subjects in Amerindian Ontologies’ (2004)
- Suely Rolnik, ‘Anthropophagic Subjectivity’ in Arte Contemporânea Brasileira: Um e/entre Outro/s, São Paulo: Fundação Bienal de São Paulo (1998)
- Wganda Kenya, Shakalaodé (1976)
- Curation Unpacked: The Cultural Influences Behind Liverpool Biennial 2020

2 - 3pm Lunch

3 - 5.30pm Afternoon session

Bridget Crone and Adnan Madani lead a discussion of ideas raised in the readings and morning session.



Saturday 21 March 12 - 8pm

Location: Institute of Contemporary Arts, The Mall, London SW1Y 5AH 

Choreographic Devices

Choreography is no longer simply the art of making dances: instead, complex models of ‘the choreographic’ are increasingly tasked to investigate and animate the intersecting spatial, corporeal, affective and informational dimensions of being entangled with the world. Reflecting and building on this expansion, the symposium Choreographic Devices extends an invitation to activate the choreographic as a methodology, or device, for trans-disciplinary rehearsal and speculation, as a form of inquiry, and a mode of doing research.

What kind of choreographic arrangements can we compose to put diverse thinkers and practitioners in relation to one another? What kinds of time spaces can be plotted, imagined and enacted, when the symposium itself is choreographed and takes shape as a sequence of sessions, each brought to life by a different host? Through contributions and interventions by over 30 international protagonists from across an expanded ecology of practices, this multi-format symposium speculates on the affordances of choreographic (re-)arrangements and their complex forms of co-production, and tests how organisational formats, material assemblages, and modes of being alongside each other, might be choreographed otherwise.

Choreographic Devices was developed by Murat Adash, Ofri Cnaani, and Edgar Schmitz, in close dialogue with the ICA, London. It is generously supported by the Consortium for the Humanities and the Arts South-East England (CHASE). Choreographic Devices was made possible with additional support from Goldsmiths (Mountain of Art Research, Department of Art; Curatorial / Knowledge and BA Curating, Department of Visual Cultures).

For more information:

Programme Saturday 21 March:

12:00 – 12:15  Registration

12:15 – 14:15  Reversible Figures
Murat Adash, Tavi Meraud, Benoit Lachambre, Kostas Retsikas, Helen Juffs and Joanne Tremarco and Gregor Samsa

14:15 –15:00  Lunch break

15:00 – 16:15  Around Apart Under Behind Through Ahead: A Partial Lexicon of Spatial Dysfunction
Vlatka Horvat and invited guests: Edwina Ashton, Augusto Corrieri, Critical Interruptions (Diana Damian Martin + Bojana Janković), Zoë Mendelson, Harun Morrison, Lara Pawson, Florian Roithmayr (with Borbála Soós)

16:15 – 16:30  Coffee break

16:30 – 17:30  Bojana Cvejic and Irit Rogoff in conversation

17:30 – 18:00  Coffee break

18:00 – 20:00  G major für Alix Eynaudi
A concert by Han-Gyeol Lie and cocktails by Alex Franz Zehetbauer, with the participation of Alix Eynaudi and Raimundas Malasauskas

Full programme available here.





Seminar Dates: 
Wed, 18/03/2020 - 14:00 - Sat, 21/03/2020 - 16:00