Seminar 7 // 13, 14, 15 December 2007 // London
Seminar 7 // 13, 14, 15 December 2007: location tba
1. Presentations by Jennifer Doyle and Simon O'Sullivan on the production of subjectivites; lecture by Christopher Pinney co-sponsored by the Visual Cultures and Cultural Studies Departments.
2. Presentation by C/K participant Aneta Szylak. 3. Student-led reading group on the curatorial. Click for texts
Further information about the sessions can be found below:
THURSDAY 8 NOVEMBER: location tba
11-1pm: Jennifer Doyle In March 2007, The Museum of Contemporary Art in Los Angeles opened a blockbuster exhibition about feminist art, focused on work produced between the late 1960s and 1980. Galleries and schools around Los Angeles offered their own programming in response - partly to extend and compliment "WACK!: Art and the Feminist Revolution" and, partly to assert oppositional perspectives on feminist visual practices. Raquel Guttierez (of the lesbian performance collective Butchlalis) and I organized a small exhibit of work we identified as queer feminist latina art for the art gallery at the Los Angeles Lesbian and Gay Center. I will talk both about my perspectives on MOCA's WACK! (including the controversy surrounding the catalogue cover), and about working with Raquel on our exhibit, titled "Aqui No Hay Virgenes." Jennifer Doyle is an Associate Professor of English at the University of California, Riverside. She is author of Sex Objects: Art and the Dialectics of Desire (Minnesota, 2006). While at Goldsmiths, she is working on a book project about the politics of emotion in contemporary art. Her research interests include gender studies, performance, and critical theory.
2-4pm: Dr. Simon O’Sullivan The Production of Art / The Production of Subjectivities Simon O'Sullivan is Lecturer in Art History and Visual Culture at Goldsmiths College, London, UK. He has recently published a book entitled Art Encounters Deleuze and Guattari: Thought Beyond Representation (Palgrave Macmillan, 2006).
5-7pm: Christopher Pinney Lessons From Hell: Karma and Governmentality in Popular Indian Imagery Professor of Anthropology and Visual Culture at University College London; Visiting Mary Jane Crowe Chair , Department of Art History, at Northwestern University; Teacher and researcher in the fields of popular visual culture in India, the work of Theodor Adorno, colonial photography and the history of anthropology, and the history and consumption of popular Hindu chromolithographs. Cinema, Richard Hoggart Building
FRIDAY 14 DECEMBER: location tba
11-1pm: Summary and Discussion of Thursday’s Lectures on the Production of Subjectivities
2-4pm: Aneta Szylak Curating as Palimpsest Unpacking, looking at, or drawing through? For my presentation, I will try to discuss the notion of “palimpsest”, a term which I plan to use as a major theoretical tool for my PhD. I will do it this time in reference to Bakhtin and his concept of polyphonic dialogue, and investigate possible relation between them. Apparently palimpsest has to do with remembrance and oblivion: Genette in his writing about Proust points out toward superimposed impressions none of which is to become true. According to Genette’s later writing, palimpsest is a literature of second degree, the hypertext that refers to early hypotext (like in relation between The Odyssey and Joyce’s Ulysses). The notion of palimpsest thus has an impact on thinking about text as something non-linear and employing particular reference. What can be found productive is a spatial aspect of palimpsest, its layered narrative, fragmentation and unexpected new meanings produced by the texts that lay on the same parchment. This brings thoughts about the unplanned, accidental and unintentional and draws attention to spaces in-between as well as added, surplus meanings produced by this space. The palimpsest is both a physically existing object and at the same time the term is being used in linguistics and literary theory. The term being employed here is born from a situation of deficit: due to its preciousness the parchment was used more than once, turning it into a regenerated writing material – the palimpsest. The careful reader can read these obscured primary writings. Though the layers of text and time hinder easy understanding, it happens that unexpected relations between the older and the chronologically newer appear. Today, palimpsest can be observed as an embodiment of cultural overproduction that can be grasped only fragmentarily. The more layers culture implies, the more complex its reading can become. It creates limits and potentialities. The thing to be discussed is the potential usefulness of the term for the description of the curatorial, especially if understood as the form of utterance, its visualization and distribution, its spatiality, textuality and fragmentation. It might also further on induct the problematics of competence and orchestration of it in the field of curatorial.
evening - time tba Dinner - location tba
SATURDAY 15 DECEMBER: location tba
11-4pm: Student-led Reading Group on the curatorial Click for texts
