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| Isabell Spengler & Corinna Schnitt | |
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| Trebor Scholz | Friday, Jan 18, 2002, 1.30 pm Scholz will be presenting on recent projects addressing the role of art in times of crisis and catastrophe.Scholz is a Brooklyn-based interdisciplinary artist. Born in Berlin he studied painting in Dresden and New Media in London (Slade School of Art). After working in San Francisco he started the Whitney Museum of American Art Independent (Studio) Program in 1998. Since then he worked as an interdisciplinary artist exhibiting, lecturing, and curating programs in the United States and Europe. He is the author of "Surfacing at a Different Place," published by Green Press (London). For more info on Trebor Scholz' work, see http://www.molodiez.org |
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| Garrett Scott | Wednesday, Feb 20, 2002, 4-6pm Garrett Scott will present his video "Cul-de Sac: A Suburban
War Story." |
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 Aiko Hachisuka Junkyard (side view-right), 2001 |
| Lane Relyea | Monday, Feb 25, 2002, 5pm On Monday, February 25th, Lane Reylea of the CORE program, a post-graduate art residency, will be delivering the lecture "It's the End of Art Criticism as We Know It (and the Art World Feels Fine)." Lane Relyea has written essays and reviews for numerous magazines including Artforum, Parkett, Frieze, Art in America and New Art Examiner. He has contributed essays to such exhibition catalogs as Public Offerings (Museum of Contemporary Art, Los Angeles, 2001), Toba Khedoori (Offentliche Kunstsammlung, Basel, 2001); Colour Me Blind! (Württembergische Kunstverein, Stuttgart, 1999) and Helter Skelter (Museum of Contemporary Art, Los Angeles, 1992). To learn more information about the CORE program, visit www.core.mfah.org
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| KIT Collective and Battery Operated
| Thurs. March 7, 2002 Lecture & Performance KIT will present "Tensile", a project about art, technology, architecture and sound on Thursday, March 7th,4-6 PM in the Performance Space at the Visual Arts Facility. KIT are a collaborative group working out of the UK and Canada and have been producing multimedia installations internationally since 1994. Working offsite as well as in galleries is an integral part of KIT's practice, leading to projects such as "Greylands", where a robot is hooked up to a website via GPS. These projects, as well as their gallery work, such as "Airbag Architecture," utilize a wide range of techniques and processes to examine the spatial, temporal and socio-political roles of digital technologies, often focusing on dialogues between Internet space and "concrete space.“ From 8-10PM on March 7, Battery Operated (including members of
KIT) will perform at CRCA. The performance of their "Doubleback"
is based on remixing a remix of an earlier piece titled "Chases
Through Non-Place." "Doubleback' was a process of Gescom
(Skam) remixing sound and video of the 'Chases' and then Battery
Operated remixing the remix. This was based on ideas of surveillance
as the content of the project and of the process. For more info on KIT/Battery Operated, please visit their websites |
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| Luc Courchesne | Thurs. April 11, 2002 Thursday, March 11, New Media Artist Luc Courchesne will be presenting
"The Construction of Experience: Case Study." This presentation
explores the connections between 19th century panoramic devices
and more contemporary forms of virtual reality, focusing on the
interactivity and immersivity of these forms. |
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| Remixing: sound / body / performance
| Friday, May 3, 2002
3.30 – 5.30 Performances by:
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| Susan Buck-Morss | Lectures on "Art in the age of Global Surveillance: Borders of Safety, Lines of Flight." Mon. May 6, 2002 Susan Buck-Morss is Professor of political philosophy, social theory and visual culture at Cornell University, and Visiting Distinguished Professor in the Public Intellectuals Program of Florida Atlantic University. She is widely recognized as a leading scholar of the work of the Frankfurt School, especially the cultural criticism of T.W. Adorno and Walter Benjamin. Her book, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (MIT Press, 1989) examines the unpublished notes and observations generated by Benjamin during the later part of his life on the experience of urban modernity and consumer culture in the nineteenth century. Buck-Morss's essays, including "Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered" (October 62, Fall, 1992), "The City as Dreamworld and Catastrophe" (October 73, Summer 1995), and "Envisioning Capital: Political Economy on Display" in Visual Display: Culture Beyond Appearances (Bay Press, 1995), have set out a provocative new interpretation of the status of the aesthetic within contemporary culture. Buck-Morss has returned to the term's early definition to re-think the aesthetic in relationship to somatic or bodily knowledge under the impact of modernity. Her essay "Hegel and Haiti" (Critical Inquiry, Summer 2000), argues that Hegel's influential discussion of the master/slave relationship in Phenomenology of Mind was inspired by the Haitian Revolution of 1803, which posed a significant challenge to the utopian ideals of Enlightenment thought. Buck-Morss's Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West (MIT Press, 2000) attempts to rescue the concept of utopia from the malaise of post-Cold War global politics. Buck-Morss was also a guest curator for the inSITE 2000 project
in San Diego and Tijuana. She serves on the editorial boards of
October, Constallations, and Parallax, and has received grants from
the Fulbright Program, The John Simon Guggenheim Foundation and
The Rockefeller Foundation. Buck-Morss's talk for the Visual Arts
Visitor's Program will be "Art in the Age of Global Surveillance:
Borders of Safety, Lines of Flight." |
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| RECALL—a performative reconsideration
of 'official' discourse | Monday May 20, 2002, 7–9pm RECALL — a performative reconsideration of 'official' discourse Sponsored by the Visual Arts Department Graduate Student Visitors Committee, UCSD, the Enrichment of Graduate Arts and Humanities Initiative, the Center for the Humanities, UCSD. Organized by Kara Lynch. The Speculative Archive for Historical Clarification We have invited the Speculative Archive for Historical Clarification and Sharon Hayes to present their ideas and projects in dialogue. In their work, each engages the archive, document, evidence, nostalgia, memory, institutions and history. In this open discussion, we ask them to further investigate these issues in relation to time and transformation.
The Speculative Archive for Historical Clarification will present works from two Archive file series—"In light of the recent events," and "Redaction Portraits." These projects use declassified U.S. government files as source material for the production of new images which examine the complex of effects generated not only by the policies documented (a covert action, a proxy war, an arms shipment, an election rigging, and so on) but also by the practices of documentation themselves. Through an exploration of the dynamic between secrecy, bureaucratized violence, terror, and public knowledge, these projects locate past U.S. interventions within current discourses of human rights and historical accountability—"coming to terms with past abuses"—from which they have remained largely absent. |
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