Towards An Anthropological (Post Artistic) Practice
Converging art and everyday life through 1:1 scale projects, post-artistic practices reconfigure dialectics between disciplines, thus resembling the integrated societies anthropologists traditionally studied. Bandlien’s collaboration with the collectives HAiKw/, Blank Mountain College and Department for Usership constitutes the empirical backdrop for her reflections on epistemological issues related to such new forms of interdisciplinarity – and ontological issues related to post-artistic practices. The talk is based on articulations of Bandlien’s practice set forth as invited guest editor of a special issue of the Norwegian journal KunstogKulturon “art and anthropology”, published by the National Museum of Art, Architecture and Design and Universitetsforlaget (forthcoming December 2016).
Charlotte Bik Bandlien (b. 1977) is an anthropologist specialized in visual and material culture. Applying synthesized theoretical perspectives, her research centers around interdisciplinary aesthetics investigated through collaborative practice. Work presented at Museum of Modern Art in Warsaw, Parsons the New School for Design in NYC, Oxford University, Design History Society, Theaster Gates’ Arts Incubator in Chicago, Uncontaminated Oslo, Rogaland Kunstsenterand Henie Onstad Kunstsenter. Bandlien has previously held positions as strategic brand planner at Bates Advertising and researcher at the National Institute for Consumer Research, and was contributing editor to Personae magazine. She is currently asst. professor of theory and methodology at Oslo National Academy of the Arts, Dept. of Design.
This presentation will develop Eric Cazdyn’s ongoing exploration regarding the category of the blindspot. The blindspot can be conceptualized in many ways (from the unrepresentable to the impossible), but is almost always understood (in philosophy, art, psychoanalysis, politics) as something missing, as a kind of absence that structures what’s present and is “at the bottom” of things. Cazdyn’s provocation is to push these assumptions beyond such depth models–so that the blindspot is also considered to exist on the surface of our world and, in some sort of time-warped way, as coming from the future. He has built what he calls a blindspot machine, a rotating rig consisting of four cameras, each pointing in a different ninety-degree direction so that when viewing the footage of all four cameras (at the same time in four quadrants) a panorama is rendered, but one with blindspots. What’s happening in those blindspots? How do they operate? And what might they teach us about how we look, how we desire, and how change occurs in the world? These questions will be explored by way of a “live film essay” in which the blindspot is not simply exposed (which is the violent desire of state surveillance), but produced. “To produce the blindspot,” it will be argued, can be understood today as a unifying principle of radical art, politics, and criticism.
Eric Cazdyn is Distinguished Professor of Aesthetics and Politics at the University of Toronto (located in the Centre for Comparative Literature and Department of East Asian Studies). He has written the following books: Nothing (Chicago, 2015); The Already Dead (Duke, 2012); After Globalization (Wiley-Blackwell, 2011); The Flash of Capital (Duke, 2002); as well as the novel A Thousand Non-Coincidences (2014). Cazdyn’s research invariably revolves around the same problem: how the impossible (political, aesthetic, personal) is engaged…and how such engagements can enliven the world, effectively changing what is possible. Cazdyn also translates this scholarly obsession into a film practice by foregrounding the problem of the blindspot, for which he has built a unique rig intended to make blindspots rather than to expose them. This “blindspot machine”—together with the real time, over-narrations that accompany the screenings—is a direct intervention into the operations and discourses of surveillance as well as into the desires invested in the image more generally. Cazdyn is currently an Affiliated Fellow at the American Academy of Rome where he is developing the next variation of the blindspot project.
Inspired by progressive cultural practices, signalising trends within these and having the sum resonating within broader cultural scope, Freek Lomme is a host, forerunner, inspirer and node exploring and structuring present culture both in theory and discourse by mediating real exchange on site. His personal motto in life, to conceptualise cultural wonder, mirrors itself within the produced public settings wherein people relate their wonder within the narrated structures on the subjects and challenges he set’s out for with determination and generosity.
In his talk Lomme will discuss the way truths are sourced, how this reflects the foundation of our contemporaneity, what is included and excluded and how we can imagine this differently. He will do so by proposing two forms of truth, as a think model to consider the approach and motivation whereby we portray and engage our reality.
Freek Lomme is a mediator, debater, lecturer and catalyst in cultural positions. He is an (in)dependent curator, writer, editor, lecturer and moderator for diverse commissioners ranging from museums to independent spaces and such, different art schools in different countries and continents, various magazines and more. Nevertheless, he is primarily known as founding director and present cleaner, fundraiser, warehouse-manager and everything else of exhibition space and publisher Onomatopee, which he founded in 2006 together with a friend.
He studied arts and science at the University Maastricht, holds an MA in art policy and cultural identity, but learned in practice. He is particularly interested in visual culture within the experience economy, modes of collaboration and organisation. At large, he practices a sort of poetic and experimental conceptualisation of wonder.