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October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Everything that ends has a new beginning. Human rose, dominated planet Earth in less than 3000 years, managed to achieve the very peak of "matters" civilization, and ended up almost destroying everything that matters...
To better understand what went wrong, in order to re-establish what humanity is consist of (after all, what is human without humanity), the cyborg race post-human conducted a thorough examination of human history, their religions, politics, emotions, hope and fear, thinking mechanism, behavior patterns, belief systems... all of which are more mythology than science to the cyborgs, for when one has already acquired a close to perfect body, and almost immortality, moral has no meanings... until they realized something is missing, a purpose of existence...
From the examinations, the cyborgs discovered the duality in human design, like the "0" and "1" in human's ancient data processing machines, very much like the planet's habitat in the age of old, there was a moon in the night that echoes the sun in the day, there were femininity on the right side of human's brain, to balance the masculinity on the left, when they were in balance, human managed to achieve harmony, but something upset that duality and suppressed the right side of their brains, and it was a slow death of humanity, and that is why in the end the "Elders", last of mankind, and the very first post-human cyborgs decided to eliminate that duality all together, and merge everything into ONEness, without sides, there would not be needed for balance... so they thought...
Is an irony, human with all their imperfection and imbalance, they managed to convinced themselves the purpose of living in their every waking moments... cyborgs achieved perfection and eliminated all possibilities of imbalance, lost their purposes...
So, they look at this statue created and left behind by the "Elders", they called it "Caduceus", and it is said that whoever understood the encryption shall be set free... ...
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes – SeyTA.
www.seyta.org/vasquez-rocca-adolfo/
Líneas de investigación/
– Arte contemporáneo – Estética y posthumanismo – Arte conceptual – Poética del cine – Políticas de género y las multitudes Queer – Artes escénicas – Ontología de lo Fantástico – Polisemia visual – Semántica de los mundos posibles – Estética y Fenomenología – Cultura Visual y Medios Digitales – No lugares y Espacio público – Simulacros y simulación – Artes de la representación – Anti-teatro y Nihilismo – Plástica contemporánea – Pintura matérica – Poética del espacio – Antipoesía – Performances – Pina Bausch; Danza Abstracta y Psicodrama Analítico – Expresionismo abstracto (La Escuela de londres: Francis Bacon y Lucien Freud) – Arte y Psicopatología – El Giro estético – El Conceptualismo ruso – El Dadaismo y el El Ready-Made de Marcel Duchamp.
www.seyta.org/vasquez-rocca-adolfo/
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
Web/
ucm.academia.edu/AdolfoVasquezRocca
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Principales publicaciones/
Libros
VÁSQUEZ ROCCA, Adolfo, Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Artículos
“El Giro Estético de la Epistemología; La ficción como conocimiento, subjetividad y texto”, En Revista AISTHESIS, Instituto de Estética, Pontificia Universidad Católica de Chile, PUC, Nº. 40, 2006, pp. 45-61.
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
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SEMINARIO «ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA». POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
agosto 6, 2022in Uncategorized y con la etiqueta Adolfo Vasquez Rocca Filosofía, Adolfo Vásquez Rocca Arquitectura, Adolfo Vásquez Rocca Arte, Adolfo Vásquez Rocca Blog, Adolfo Vásquez Rocca Facebook, adolfo vásquez rocca wikipedia, Antropología, arte, Arte Conceptual, Baudrillard, Danto, Derrida, Estética, Francis Bacon, Freud, Heidegger, Nietzsche, Nihilismo, Peter Sloterdijk, Posthumanismo, Psicoanálisis, Psicología, Psiquiatría, warhol| 2 comentarios | Editar
agosto 6, 2022 de ADOLFO VÁSQUEZ ROCCA in Uncategorized y con la etiqueta Adolfo Vásquez Rocca, Adolfo Vásquez Rocca Arquitectura, Adolfo Vásquez Rocca Biografía, Adolfo Vásquez Rocca Blog, Adolfo Vásquez Rocca Facebook, adolfo vásquez rocca wikipedia, Adolfo Vásquez Rocca Youtube, Antropología, Estética, Estética Arte conceptual Psiquiatría Literatura Revista de Filosofía contemporánea Crítica de Arte Sociología Profesor Adolfo Vásquez Rocca Teoría del Arte Doctorado en Filosofía, Filosofía Contemporánea, Martin Heidegger, Nietzsche, Peter Sloterdijk, Poshumanismo, Posmodernidad, PSICOLOGÍA, Revista Observaciones Filosoficas | Editar
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Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
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Duración: 4 sesiones de 2hrs.
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Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
: «É, Í».
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
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Cupos limitados
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Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Ó Curso-SEMINARIO:
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
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Inscripciones y Consultas a: informaciones.cipca@gmail.com
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Dr. Adolfo Vasquez Rocca
ó
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Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
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Asistencia y Diploma al completar el curso
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
Polisemia visual, Arte conceptual y la época criminal de lo monstruoso
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
Se certificará
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Programa y descripción del Curso
drive.google.com/…/1dn_l…/view…
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes – SeyTA.
www.seyta.org/vasquez-rocca-adolfo/
Líneas de investigación/
– Arte contemporáneo – Estética y posthumanismo – Arte conceptual – Poética del cine – Políticas de género y las multitudes Queer – Artes escénicas – Ontología de lo Fantástico – Polisemia visual – Semántica de los mundos posibles – Estética y Fenomenología – Cultura Visual y Medios Digitales – No lugares y Espacio público – Simulacros y simulación – Artes de la representación – Anti-teatro y Nihilismo – Plástica contemporánea – Pintura matérica – Poética del espacio – Antipoesía – Performances – Pina Bausch; Danza Abstracta y Psicodrama Analítico – Expresionismo abstracto (La Escuela de londres: Francis Bacon y Lucien Freud) – Arte y Psicopatología – El Giro estético – El Conceptualismo ruso – El Dadaismo y el El Ready-Made de Marcel Duchamp.
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
Dr. Adolfo Vasquez Rocca
Adolfo Vásquez Roccahttp://www.seyta.org/vasquez-rocca-adolfo/
Web/
ucm.academia.edu/AdolfoVasquezRocca
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO
Dr. Adolfo Vásquez Rocca
PROGRAMA
Maquinismo y melancolía en la pintura italiana y alemana de entre-guerras.
Creatividad y psicopatología.
S. Freud (1919) Lo siniestro. Heimlich. (Lo ominoso).
S. Freud: “Más allá del principio del placer”. “Eros y Thánatos”.
“La Venus de las pieles”, filme de Roman Polanski
Sade y Sacher-Masoch. Lógicas de la perversión desde de los conceptos de «crítica» y «clínica» en Gilles Deleuze.
Masoquismo y cultura de la dominación.
Anatomía de la Destructividad Humana.
“Apuntes del Natural”. Aproximación a Jackson Pollock y el Expresionismo abstracto.
Estética romántica y arte moderno.
La adhesión político-metafísica de Heidegger al nacionalsocialismo a partir del imaginario filoagrario.
Influencia del Psicoanálisis en el Movimiento Surrealismo: automatismo psíquico.
Francis Bacon; la deriva del yo y el desgarro de la carne». La Escuela de Londres o La Pintura del desastre.
Lucian Freud; tras los pliegues de la carne: Una aproximación al retrato psicológico.
Klimt y el erotismo.
La amenaza esquizoíde. Cronenberg y David Lynch
Introducción a la curatoría y estética contemporánea.
El Arte abandona el museo. ¿A dónde va?
Performance.
De cómo Nueva York “robó” la idea de arte moderno.
Pina Bausch; Danza Abstracta y Psicodrama Analítico.
Después del Museo Freud. Susan Hiller artist.
Anatomía de la Destructividad Humana.
Joseph Beuys: cada hombre, un artista
Baudrillard y Danto, simulacros y políticas del signo después del fin del arte, cuando todo es arte y nada es arte.
Música concreta y Filosofía contemporánea; Registros polifónicos de John Cage a Peter Sloterdijk.
Todos Los Males Del Mundo, (Pensamientos de Pascal e Instalación de Raúl Ruiz).
La Poética del Cine.
“La maison Nucingen” (2008), de Raúl Ruiz (la inquietante extrañeza).
Rancière: El inconsciente estético.
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
Web/
ucm.academia.edu/AdolfoVasquezRocca
Principales publicaciones/
Libros
VÁSQUEZ ROCCA, Adolfo, Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Artículos
“El Giro Estético de la Epistemología; La ficción como conocimiento, subjetividad y texto”, En Revista AISTHESIS, Instituto de Estética, Pontificia Universidad Católica de Chile, PUC, Nº. 40, 2006, pp. 45-61.
«Nietzsche: De la voluntad de ficción al pathos de la verdad. Aproximación estético-epistemológica a la concepción biológica de lo literario«, En NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nº 36 | Julio-Diciembre2012-2013 (II) pp. 315-338 dx.doi.org/10.5209/rev_NOMA.2012.v36.n4.42319 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES,REBIUN y Red ALyC
“Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos«, En EIKASIA, Revista de Filosofía, Nº 44 -Mayo 2012- ISSN 1885-5679 – Oviedo, España, pp. 59-84. (ÍnDICEs-CSIC) – RESH www.revistadefilosofia.com/44-04.pdf
“Byung-Chul Han: la sociedad de la transparencia, autoexplotación neoliberal y psicopolítica. De lo viral-inmunológico a lo neuronal-estresante”, En NÓMADAS. Revista Crítica de Ciencias Sociales y Jurídicas, UCM – Universidad Complutense de Madrid Vol. 52 Núm. 4 (2017): Número especial: Settimana Bologna 2017 / Investigación DOI: doi.org/10.5209/NOMA.56074
“Heidegger y Sloterdijk: La Provocación de la técnica, el claroscuro de la verdad y la domesticación del Ser (más allá de la matriz bucólica de la pastoral heideggeriana)” NÓMADAS: Revista crítica de ciencias sociales y jurídicas, Universidad Complutense, ISSN-e 1578-6730, Nº. 51, 2017, 239-271 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES, REBIUN y Red ALyC
“Derrida: Deconstrucción, ‘différence’ y diseminación. Una historia de parásitos, huellas y espectros”, En NÓMADAS*, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nómadas Nº 48 | Julio-Diciembre. 2016, pp. 289 -301.https://doi.org/10.5209/NOMA.53302
“Baudrillard y Danto: simulacros y políticas del signo después del fin del arte”, en AdVersuS, Revista de Semiótica, Buenos Aires – año XII | Nº 28 – 2015, Instituto Ítalo-Argentino di Ricerca Sociale (IIRS) – ISSN 1669-7588
“Arte Conceptual y Posconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 37 | Enero-Junio 2013 (I), pp. 100 – 130
“Diálogo de Exiliados, Cine y Políticas estéticas en Latinoamérica: Raúl Ruiz, Territorios, Ontología de lo fantástico y Polisemia visual”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)], pp. 187 – 211
“Francis Bacon; la deriva del yo y el desgarro de la carne”, En ENFOCARTE © 2008 c/ Cataluña 28, 5ºizq (33210) Gijón – ASTURIAS España, Revista de Arte.
“El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos”, En DEBAT’S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.
Web
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes
DR. ADOLFO VÁSQUEZ ROCCA SOCIEDAD ESPAÑOLA DE ESTÉTICA Y TEORÍA DE LAS ARTES – SEYTA.
Dr. Adolfo Vasquez Rocca
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
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Etiquetas: Adolfo Vásquez Rocca, Antropología, Arte, Biopolítica, Danto, Derrida, Duchamp, Estética, Filosofía, Freud, Heidegger, Literatura, PSICOLOGÍA, Ranciere, Sloterdijk
Inscripciones y Consultas a: informaciones.cipca@gmail.com
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SEMINARIO «ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA». POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. ZEyTA
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2022
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«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
Online Zoom: Video Conferencing
Cupos limitados
Se certificará
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
: «É, Í».
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
Online Zoom: Video Conferencing
Cupos limitados
Se certificará
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
Polisemia visual, Arte conceptual y la época criminal de lo monstruoso
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
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Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes – SeyTA.
www.seyta.org/vasquez-rocca-adolfo/
Líneas de investigación/
– Arte contemporáneo – Estética y posthumanismo – Arte conceptual – Poética del cine – Políticas de género y las multitudes Queer – Artes escénicas – Ontología de lo Fantástico – Polisemia visual – Semántica de los mundos posibles – Estética y Fenomenología – Cultura Visual y Medios Digitales – No lugares y Espacio público – Simulacros y simulación – Artes de la representación – Anti-teatro y Nihilismo – Plástica contemporánea – Pintura matérica – Poética del espacio – Antipoesía – Performances – Pina Bausch; Danza Abstracta y Psicodrama Analítico – Expresionismo abstracto (La Escuela de londres: Francis Bacon y Lucien Freud) – Arte y Psicopatología – El Giro estético – El Conceptualismo ruso – El Dadaismo y el El Ready-Made de Marcel Duchamp.
www.seyta.org/vasquez-rocca-adolfo/
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
Web/
ucm.academia.edu/AdolfoVasquezRocca
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Principales publicaciones/
Libros
VÁSQUEZ ROCCA, Adolfo, Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Artículos
“El Giro Estético de la Epistemología; La ficción como conocimiento, subjetividad y texto”, En Revista AISTHESIS, Instituto de Estética, Pontificia Universidad Católica de Chile, PUC, Nº. 40, 2006, pp. 45-61.
«Nietzsche: De la voluntad de ficción al pathos de la verdad. Aproximación estético-epistemológica a la concepción biológica de lo literario«, En NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nº 36 | Julio-Diciembre2012-2013 (II) pp. 315-338 dx.doi.org/10.5209/rev_NOMA.2012.v36.n4.42319 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES,REBIUN y Red ALyC
“Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos«, En EIKASIA, Revista de Filosofía, Nº 44 -Mayo 2012- ISSN 1885-5679 – Oviedo, España, pp. 59-84. (ÍnDICEs-CSIC) – RESH www.revistadefilosofia.com/44-04.pdf
“Byung-Chul Han: la sociedad de la transparencia, autoexplotación neoliberal y psicopolítica. De lo viral-inmunológico a lo neuronal-estresante”, En NÓMADAS. Revista Crítica de Ciencias Sociales y Jurídicas, UCM – Universidad Complutense de Madrid Vol. 52 Núm. 4 (2017): Número especial: Settimana Bologna 2017 / Investigación DOI: doi.org/10.5209/NOMA.56074
“Heidegger y Sloterdijk: La Provocación de la técnica, el claroscuro de la verdad y la domesticación del Ser (más allá de la matriz bucólica de la pastoral heideggeriana)” NÓMADAS: Revista crítica de ciencias sociales y jurídicas, Universidad Complutense, ISSN-e 1578-6730, Nº. 51, 2017, 239-271 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES, REBIUN y Red ALyC
“Derrida: Deconstrucción, ‘différence’ y diseminación. Una historia de parásitos, huellas y espectros”, En NÓMADAS*, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nómadas Nº 48 | Julio-Diciembre. 2016, pp. 289 -301.https://doi.org/10.5209/NOMA.53302
“Baudrillard y Danto: simulacros y políticas del signo después del fin del arte”, en AdVersuS, Revista de Semiótica, Buenos Aires – año XII | Nº 28 – 2015, Instituto Ítalo-Argentino di Ricerca Sociale (IIRS) – ISSN 1669-7588
“Arte Conceptual y Posconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 37 | Enero-Junio 2013 (I), pp. 100 – 130
“Diálogo de Exiliados, Cine y Políticas estéticas en Latinoamérica: Raúl Ruiz, Territorios, Ontología de lo fantástico y Polisemia visual”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)], pp. 187 – 211
“Francis Bacon; la deriva del yo y el desgarro de la carne”, En ENFOCARTE © 2008 c/ Cataluña 28, 5ºizq (33210) Gijón – ASTURIAS España, Revista de Arte.
“El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos”, En DEBAT’S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.
Web
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes
DR. ADOLFO VÁSQUEZ ROCCA SOCIEDAD ESPAÑOLA DE ESTÉTICA Y TEORÍA DE LAS ARTES – SEYTA.
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
Volver a SOCIOS
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
Etiquetas: Adolfo Vásquez Rocca, Antropología, Arte, Biopolítica, Danto, Derrida, Duchamp, Estética, Filosofía, Freud, Heidegger, Literatura, PSICOLOGÍA, Ranciere, Sloterdijk, Seminario Estética Creatividad y psicopatología,
Inscripciones y Consultas a: informaciones.cipca@gmail.com
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SEMINARIO: ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA. POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
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á
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Online Zoom: Video Conferencing
Ó Curso-SEMINARIO:
Cupos limitados
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Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
: «É, Í».
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
Online Zoom: Video Conferencing
Cupos limitados
Se certificará
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Ó Curso-SEMINARIO:
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Método de pago
*Transferencia (Sólo Chile)
Webpay Débito o Crédito (Sólo Chile)
Paypal (internacional)
Transferencia Internacional Banco Santander (sujeto a disponibilidad)
Dr. Adolfo Vasquez Rocca
ó
Online Zoom: Video Conferencing
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Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
Polisemia visual, Arte conceptual y la época criminal de lo monstruoso
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
Se certificará
Asistencia y Diploma al completar el curso
Programa y descripción del Curso
drive.google.com/…/1dn_l…/view…
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes – SeyTA.
www.seyta.org/vasquez-rocca-adolfo/
Líneas de investigación/
– Arte contemporáneo – Estética y posthumanismo – Arte conceptual – Poética del cine – Políticas de género y las multitudes Queer – Artes escénicas – Ontología de lo Fantástico – Polisemia visual – Semántica de los mundos posibles – Estética y Fenomenología – Cultura Visual y Medios Digitales – No lugares y Espacio público – Simulacros y simulación – Artes de la representación – Anti-teatro y Nihilismo – Plástica contemporánea – Pintura matérica – Poética del espacio – Antipoesía – Performances – Pina Bausch; Danza Abstracta y Psicodrama Analítico – Expresionismo abstracto (La Escuela de londres: Francis Bacon y Lucien Freud) – Arte y Psicopatología – El Giro estético – El Conceptualismo ruso – El Dadaismo y el El Ready-Made de Marcel Duchamp.
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
Dr. Adolfo Vasquez Rocca
Adolfo Vásquez Roccahttp://www.seyta.org/vasquez-rocca-adolfo/
Web/
ucm.academia.edu/AdolfoVasquezRocca
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO
Dr. Adolfo Vásquez Rocca
PROGRAMA
Maquinismo y melancolía en la pintura italiana y alemana de entre-guerras.
Creatividad y psicopatología.
S. Freud (1919) Lo siniestro. Heimlich. (Lo ominoso).
S. Freud: “Más allá del principio del placer”. “Eros y Thánatos”.
“La Venus de las pieles”, filme de Roman Polanski
Sade y Sacher-Masoch. Lógicas de la perversión desde de los conceptos de «crítica» y «clínica» en Gilles Deleuze.
Masoquismo y cultura de la dominación.
Anatomía de la Destructividad Humana.
“Apuntes del Natural”. Aproximación a Jackson Pollock y el Expresionismo abstracto.
Estética romántica y arte moderno.
La adhesión político-metafísica de Heidegger al nacionalsocialismo a partir del imaginario filoagrario.
Influencia del Psicoanálisis en el Movimiento Surrealismo: automatismo psíquico.
Francis Bacon; la deriva del yo y el desgarro de la carne». La Escuela de Londres o La Pintura del desastre.
Lucian Freud; tras los pliegues de la carne: Una aproximación al retrato psicológico.
Klimt y el erotismo.
La amenaza esquizoíde. Cronenberg y David Lynch
Introducción a la curatoría y estética contemporánea.
El Arte abandona el museo. ¿A dónde va?
Performance.
De cómo Nueva York “robó” la idea de arte moderno.
Pina Bausch; Danza Abstracta y Psicodrama Analítico.
Después del Museo Freud. Susan Hiller artist.
Anatomía de la Destructividad Humana.
Joseph Beuys: cada hombre, un artista
Baudrillard y Danto, simulacros y políticas del signo después del fin del arte, cuando todo es arte y nada es arte.
Música concreta y Filosofía contemporánea; Registros polifónicos de John Cage a Peter Sloterdijk.
Todos Los Males Del Mundo, (Pensamientos de Pascal e Instalación de Raúl Ruiz).
La Poética del Cine.
“La maison Nucingen” (2008), de Raúl Ruiz (la inquietante extrañeza).
Rancière: El inconsciente estético.
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
Web/
ucm.academia.edu/AdolfoVasquezRocca
Principales publicaciones/
Libros
VÁSQUEZ ROCCA, Adolfo, Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Artículos
“El Giro Estético de la Epistemología; La ficción como conocimiento, subjetividad y texto”, En Revista AISTHESIS, Instituto de Estética, Pontificia Universidad Católica de Chile, PUC, Nº. 40, 2006, pp. 45-61.
«Nietzsche: De la voluntad de ficción al pathos de la verdad. Aproximación estético-epistemológica a la concepción biológica de lo literario«, En NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nº 36 | Julio-Diciembre2012-2013 (II) pp. 315-338 dx.doi.org/10.5209/rev_NOMA.2012.v36.n4.42319 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES,REBIUN y Red ALyC
“Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos«, En EIKASIA, Revista de Filosofía, Nº 44 -Mayo 2012- ISSN 1885-5679 – Oviedo, España, pp. 59-84. (ÍnDICEs-CSIC) – RESH www.revistadefilosofia.com/44-04.pdf
“Byung-Chul Han: la sociedad de la transparencia, autoexplotación neoliberal y psicopolítica. De lo viral-inmunológico a lo neuronal-estresante”, En NÓMADAS. Revista Crítica de Ciencias Sociales y Jurídicas, UCM – Universidad Complutense de Madrid Vol. 52 Núm. 4 (2017): Número especial: Settimana Bologna 2017 / Investigación DOI: doi.org/10.5209/NOMA.56074
“Heidegger y Sloterdijk: La Provocación de la técnica, el claroscuro de la verdad y la domesticación del Ser (más allá de la matriz bucólica de la pastoral heideggeriana)” NÓMADAS: Revista crítica de ciencias sociales y jurídicas, Universidad Complutense, ISSN-e 1578-6730, Nº. 51, 2017, 239-271 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES, REBIUN y Red ALyC
“Derrida: Deconstrucción, ‘différence’ y diseminación. Una historia de parásitos, huellas y espectros”, En NÓMADAS*, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nómadas Nº 48 | Julio-Diciembre. 2016, pp. 289 -301.https://doi.org/10.5209/NOMA.53302
“Baudrillard y Danto: simulacros y políticas del signo después del fin del arte”, en AdVersuS, Revista de Semiótica, Buenos Aires – año XII | Nº 28 – 2015, Instituto Ítalo-Argentino di Ricerca Sociale (IIRS) – ISSN 1669-7588
“Arte Conceptual y Posconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 37 | Enero-Junio 2013 (I), pp. 100 – 130
“Diálogo de Exiliados, Cine y Políticas estéticas en Latinoamérica: Raúl Ruiz, Territorios, Ontología de lo fantástico y Polisemia visual”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)], pp. 187 – 211
“Francis Bacon; la deriva del yo y el desgarro de la carne”, En ENFOCARTE © 2008 c/ Cataluña 28, 5ºizq (33210) Gijón – ASTURIAS España, Revista de Arte.
“El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos”, En DEBAT’S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.
Web
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes
DR. ADOLFO VÁSQUEZ ROCCA SOCIEDAD ESPAÑOLA DE ESTÉTICA Y TEORÍA DE LAS ARTES – SEYTA.
Dr. Adolfo Vasquez Rocca
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
Volver a SOCIOS
Dr. Adolfo Vasquez Rocca
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
Etiquetas: Adolfo Vásquez Rocca, Antropología, Arte, Biopolítica, Danto, Derrida, Duchamp, Estética, Filosofía, Freud, Heidegger, Literatura, PSICOLOGÍA, Ranciere, Sloterdijk
SEMINARIO: ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA. POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Raul Ruiz
SEMINARIO «ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA». POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. ZEyTA
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
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2022
«É, Í». , é .
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
Online Zoom: Video Conferencing
Cupos limitados
Se certificará
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
: «É, Í».
«É, Í».
, é .
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
á
Asistencia y Diploma al completar el curso
ó
Online Zoom: Video Conferencing
Cupos limitados
Se certificará
Asistencia y Diploma al completar el curso
Duración: 4 sesiones de 2hrs.
Horario: 11:00 a 13:00hrs. hora de Chile (15:00 UTC)
Valor: $ 90.000 CLP / $ 85 USD
$ 80.000 CLP
(Descuento Pago vía transferencia bancaria)
Inscripciones y Consultas a: informaciones.cipca@gmail.com
S E M I N A R I O
«ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA».
Polisemia visual, Arte conceptual y la época criminal de lo monstruoso
Dr. Adolfo Vasquez Rocca
Universidad Complutense de Madrid. UCM
Sociedad Española de Estética y Teoría de las Artes – SEyTA
www.seyta.org/vasquez-rocca-adolfo/
Online Zoom: Video Conferencing
Cupos limitados
Inicio→ Sábado 13 de agosto
Se certificará
Asistencia y Diploma al completar el curso
Programa y descripción del Curso
drive.google.com/…/1dn_l…/view…
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes – SeyTA.
www.seyta.org/vasquez-rocca-adolfo/
Líneas de investigación/
– Arte contemporáneo – Estética y posthumanismo – Arte conceptual – Poética del cine – Políticas de género y las multitudes Queer – Artes escénicas – Ontología de lo Fantástico – Polisemia visual – Semántica de los mundos posibles – Estética y Fenomenología – Cultura Visual y Medios Digitales – No lugares y Espacio público – Simulacros y simulación – Artes de la representación – Anti-teatro y Nihilismo – Plástica contemporánea – Pintura matérica – Poética del espacio – Antipoesía – Performances – Pina Bausch; Danza Abstracta y Psicodrama Analítico – Expresionismo abstracto (La Escuela de londres: Francis Bacon y Lucien Freud) – Arte y Psicopatología – El Giro estético – El Conceptualismo ruso – El Dadaismo y el El Ready-Made de Marcel Duchamp.
www.seyta.org/vasquez-rocca-adolfo/
Intereses en la investigación/
– Heidegger y Sloterdijk: La política como plástica del ser, nacionalsocialismo privado y crítica del imaginario filoagrario.
– Discusiones en torno a la naturaleza de la obra de arte en Heidegger y Chillida: Espacio y vacío. Desierto y Morada.
– El punto de partida del arte contemporáneo: desde la Vanguardias Artísticas: Dadaismo, Surrealismo, etc, hasta la “Escuela de Nueva York” [Action Painting: Jackson Pollock, Franz Kline y Willem de Kooning, etc.]
– Nicanor Parra, Anti.poesía, artefactos dramáticos y recuperación del habla empírica.
– Estética posmoderna: conceptos de metanarrativa, intertextualidad y fragmento.
– Nunca fue tan hermosa la Basura; hacia una ‘Estética de lo peor’.
Web/
ucm.academia.edu/AdolfoVasquezRocca
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Principales publicaciones/
Libros
VÁSQUEZ ROCCA, Adolfo, Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Artículos
“El Giro Estético de la Epistemología; La ficción como conocimiento, subjetividad y texto”, En Revista AISTHESIS, Instituto de Estética, Pontificia Universidad Católica de Chile, PUC, Nº. 40, 2006, pp. 45-61.
«Nietzsche: De la voluntad de ficción al pathos de la verdad. Aproximación estético-epistemológica a la concepción biológica de lo literario«, En NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nº 36 | Julio-Diciembre2012-2013 (II) pp. 315-338 dx.doi.org/10.5209/rev_NOMA.2012.v36.n4.42319 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES,REBIUN y Red ALyC
“Ontología del cuerpo y estética de la enfermedad en Jean–Luc Nancy; de la téchne de los cuerpos a la apostasía de los órganos«, En EIKASIA, Revista de Filosofía, Nº 44 -Mayo 2012- ISSN 1885-5679 – Oviedo, España, pp. 59-84. (ÍnDICEs-CSIC) – RESH www.revistadefilosofia.com/44-04.pdf
“Byung-Chul Han: la sociedad de la transparencia, autoexplotación neoliberal y psicopolítica. De lo viral-inmunológico a lo neuronal-estresante”, En NÓMADAS. Revista Crítica de Ciencias Sociales y Jurídicas, UCM – Universidad Complutense de Madrid Vol. 52 Núm. 4 (2017): Número especial: Settimana Bologna 2017 / Investigación DOI: doi.org/10.5209/NOMA.56074
“Heidegger y Sloterdijk: La Provocación de la técnica, el claroscuro de la verdad y la domesticación del Ser (más allá de la matriz bucólica de la pastoral heideggeriana)” NÓMADAS: Revista crítica de ciencias sociales y jurídicas, Universidad Complutense, ISSN-e 1578-6730, Nº. 51, 2017, 239-271 Nómadas: CNIE, Compludoc, Dialnet, DICE, CINDOC, DOAJ, IN-RECS, Latindex, RAMSES, REBIUN y Red ALyC
“Derrida: Deconstrucción, ‘différence’ y diseminación. Una historia de parásitos, huellas y espectros”, En NÓMADAS*, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid, Nómadas Nº 48 | Julio-Diciembre. 2016, pp. 289 -301.https://doi.org/10.5209/NOMA.53302
“Baudrillard y Danto: simulacros y políticas del signo después del fin del arte”, en AdVersuS, Revista de Semiótica, Buenos Aires – año XII | Nº 28 – 2015, Instituto Ítalo-Argentino di Ricerca Sociale (IIRS) – ISSN 1669-7588
“Arte Conceptual y Posconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – UNIVERSIDAD COMPLUTENSE DE MADRID, Nómadas Nº 37 | Enero-Junio 2013 (I), pp. 100 – 130
“Diálogo de Exiliados, Cine y Políticas estéticas en Latinoamérica: Raúl Ruiz, Territorios, Ontología de lo fantástico y Polisemia visual”, En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas – Universidad Complutense de Madrid UCM, Nº MONOGRÁFICO [Nº Especial: América Latina (2012)], pp. 187 – 211
“Francis Bacon; la deriva del yo y el desgarro de la carne”, En ENFOCARTE © 2008 c/ Cataluña 28, 5ºizq (33210) Gijón – ASTURIAS España, Revista de Arte.
“El Arte abandona la galería, ¿adónde va?; De la Crítica de Arte al negocio del arte como sistema de celos”, En DEBAT’S Nº 101 – 108, pp. 19-26, Revista trimestral editada por la Institució Alfons el Magnànim, Valencia, España.
Web
www.seyta.org/vasquez-rocca-adolfo/
Dr. Adolfo Vasquez Rocca Socio en pleno derecho de la Sociedad Española de Estética y Teoría de las Artes
DR. ADOLFO VÁSQUEZ ROCCA SOCIEDAD ESPAÑOLA DE ESTÉTICA Y TEORÍA DE LAS ARTES – SEYTA.
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes – SeyTA.
SEMINARIO «ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA». POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
Dr. Adolfo Vasquez Rocca Sociedad Española de Estética y Teoría de las Artes
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SEMINARIO «ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA». POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
Etiquetas: Adolfo Vásquez Rocca, Antropología, Arte, Biopolítica, Derrida, Duchamp, Estética, Filosofía, Freud, Heidegger, Literatura, PSICOLOGÍA, Ranciere, Sloterdijk, Seminario Estética, Psicoanálisis, pintura, diseño,
Inscripciones y Consultas a: informaciones.cipca@gmail.com
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
Publicado por ADOLFO VÁSQUEZ ROCCA Ph.D. — SEMINARIOS
SEMINARIO: ESTÉTICA, CREATIVIDAD Y PSICOPATOLOGÍA. POLISEMIA VISUAL, ARTE CONCEPTUAL Y LA ÉPOCA CRIMINAL DE LO MONSTRUOSO. Dr. ADOLFO VÁSQUEZ ROCCA
BYUNG-CHUL HAN: DE LA SOCIEDAD DEL CANSANCIO A LA LA SOCIEDAD DE LA TRANSPARENCIA, UNA TOPOLOGÍA DE LA VIOLENCIA. Dr. ADOLFO VÁSQUEZ ROCCA
julio 27, 2022en Adolfo E. Vásquez Rocca, Adolfo Vasquez Rocca Arquitectura, Adolfo Vasquez Rocca EnLaListaWip, Adolfo Vasquez Rocca Filosofía, Adolfo Vásquez Rocca Bibliografía, Adolfo Vásquez Rocca Biografía, Adolfo Vásquez Rocca Blog, Adolfo Vásquez Rocca Conferencia Peter Sloterdijk Postgrado, Adolfo Vásquez Rocca Facebook, Adolfo Vásquez Rocca Pintor, Adolfo Vásquez Rocca Sloterdijk Ira y Tiempo,, Antropología médica, Arquitectura, Arquitecturas, arte, Arte Conceptual, Arteterapia, Arteterapias, Artista plástico, Ética, cine, Psicopolítica,| 2 comentarios | Editar
Byung-Chul Han Psicopolítica Por Adolfo Vásquez Rocca PHD.
– VÁSQUEZ ROCCA, Adolfo, “BYUNG-CHUL HAN: PSICOPOLÍTICA, INCONSCIENTE DIGITAL Y DIFERENCIA POST–INMUNOLÓGICA”, Reflexiones Marginales, ISSN 2007–8501, Revista de Filosofía UNAM, Universidad Nacional Autónoma de México, Año 6. Número 31, 2016.
reflexionesmarginales.com/3.0/byung-chul-han/
– VÁSQUEZ ROCCA, Adolfo, “BYUNG-CHUL HAN: LA SOCIEDAD DE LA TRANSPARENCIA, CANSANCIO ELOCUENTE Y PSICOPOLÍTICA: DE LO VIRAL-INMUNOLÓGICO A LO NEURONAL-ESTRESANTE“, En Revista Observaciones Filosóficas ISSN 0718-3712, Sección Filosofía Contemporánea, 2015 (DOAJ).
www.observacionesfilosoficas.net/lasociedaddelatransparen...
BYUNG–CHUL HAN: DEL VIRAL-IMMUNOLÒGIC AL NEURONAL-STRESSAN _ En DIÀLEGS – REVISTA D’ESTUDIS POLÍTICS I SOCIALS. Dr. ADOLFO VÁSQUEZ ROCCA.
BYUNG-CHUL HAN: LA SOCIEDAD DE LA TRANSPARENCIA, CANSANCIO ELOCUENTE Y PSICOPOLÍTICA: DE LO VIRAL-INMUNOLÓGICO A LO NEURONAL-ESTRESANTE.
Dr. Adolfo Vásquez Rocca
P. Universidad Católica de Valparaíso – Universidad Complutense de Madrid
RESUMEN
Las obras de Byung-Chul Han — La sociedad del cansancio; La sociedad de la transparencia; La agonía de Eros; En el Enjambre y Psicopolítica: Neoliberalismo y nuevas técnicas de poder — recurren a varias metáforas y figuras emblemáticas de la historia cultural y literaria para explicar la figura del sujeto de rendimiento.
Sometido a un exitismo patológico y una auto-explotación productiva que entre otras consecuencias ha producido un declinar del deseo sexual o la agonía del eros. Ni siquiera el ocio o la sexualidad pueden rehuir el imperativo del rendimiento. El hombre contemporáneo se ha convertido en una fábrica de sí, hiperactiva, hiperneurótica, que agota cada día su propio ser diluyéndolo en un afán competitivo, de allí que el síntoma de nuestra época es el cansancio. El sistema neoliberal ha sido internalizado hasta el punto de que ya no necesita coerción externa para existir. Asimismo La sociedad de la transparencia lleva a la información total, no permite lagunas de información ni de visión” y acelera el flujo de datos empíricos. El mundo es hoy un mercado en el que se exponen, venden y consumen intimidades.
1.- Byung-Chul Han de la Metalurgia a la Filosofía.
Byung-Chul Han es el filósofo de moda. Nacido en 1959 en Corea del Sur, este pensador ha desarrollado toda su carrera académica en Alemania en diálogo permanente con un amplio abanico de intelectuales, desde Heidegger hasta Marx, Foucault, Baudrillard y Benjamín. Hay ya quien habla del “Zygmunt Bauman de Oriente”.
Llegó a Alemania tras ser admitido por la Universidad Técnica de Clausthal-Zellerfeld, cerca de Gotinga, para estudiar Metalurgia. A sus padres les había dicho que iba a continuar su carrera de Metalurgia en Alemania. Tuvo que mentirles porque no lo habrían dejado partir. Entonces tenía veintidós años. Estudió Filosofía en la Universidad de Friburgo y Literatura alemana y Teología en la de Múnich. Profesor de Filosofía y Estudios Culturales en la Universidad de las Artes de Berlín lo último que ha publicado en España, y en Herder, la misma editorial que sus anteriores cuatro libros, es Psicopolítica, en el que dirige su mirada crítica “hacia las nuevas técnicas de poder del capitalismo neoliberal, que dan acceso a la esfera de la psique, convirtiéndola en su mayor fuerza de producción”.
En algunos ámbitos se lo compara por eso con Peter Sloterdijk o se lo considera incluso como su sucesor, a pesar de las disputas que ha habido entre ellos. En cualquier caso, su éxito editorial es fácil de comprender. Su prosa, clara y directa, resulta fácilmente accesible para el lector no especializado, con el innegable mérito de que la legibilidad de sus escritos no va en desmedro del uso preciso que hace de los conceptos o del interés que despiertan sus reflexiones.
Los escritos de Byung-Chul Han dialogan, se interpelan y se complementan entre sí, pero eso no impide que ciertas cuestiones despierten previsibles dudas u objeciones en el lector que podrían haber sido dilucidadas en el libro. En este sentido, y pese al elogio expresado más arriba, su forma de escribir, brillante e incisiva, se corresponde a un modo de razonar que a veces peca de ser demasiado directo, sin preocuparse por arrostrar algunas de las dificultades que se desprenden de sus aseveraciones. Eso facilita la lectura pero también va en detrimento de la precisión o de una mayor exhaustividad a la hora de explicar una realidad que no deja de ser compleja, heterogénea y ambivalente.
2.- En el Enjambre: Panóptico, sociedad del rendimiento y cansancio elocuente.
Byung-Chul Han aplica el método fenomenológico al examen de las cuestiones del presente, no hay que olvidar que se doctoró con una tesis sobre Heidegger. Convierte su aproximación filo-sociológica en una
dialéctica constante donde se resalta, por un lado, los efectos que determinada forma de vivir tiene sobre nosotros y, por otra, cuales son los mecanismos que se esconden detrás de
dicha ideología. Cuanto más perdemos la capacidad de ser nuestro propio centro, anulamos la posibilidad de ser autónomos y nos tornamos excéntricos, volcados hacia fuera hasta el paroxismo de la acumulación no productiva, la que nos produce desvelos y que nos impide vivir eso que Peter Handke denomina el cansancio elocuente. El cansancio profundo que afloja la atadura de la identidad liberando un aura de cordialidad que nos permite vivir íntimamente conectados con nuestra interioridad, espacio donde radica la auténtica libertad.
Con grandes dosis de materia filosófica, pero poniendo el acento en los cambios sociológicos que están teniendo lugar en la sociedad contemporánea, la tesis con la que Han entra en el ruedo filosófico es que estamos viviendo un silencioso cambio de paradigma que nos encamina, sin apenas darnos cuenta, hacia una sociedad del rendimiento. El hombre contemporáneo ha devenido en una fábrica de sí, hiperactiva, hiperneurótica, que agota cada día su propio ser diluyéndolo en un sin fin de actividades, a la postre, vacías de sentido. Por decirlo con las palabras de un autor muy citado por Han, ha estallado el simulacro anunciado por Baudrillard y eso es algo que, obviamente, tiene sus consecuencias. Hemos pasado del éxtasis de la información al exceso de positividad, cosa que ha terminado por ahogar las fuerzas creativas de las sociedades occidentales bajo una falsa promesa, la promesa de la eterna productividad.
Las ideas sobre el poder sostenidas por el filósofo coreano se ocupan de un aspecto menos opresivo que productivo. En La sociedad de la transparencia parte de las conceptualizaciones del utopista Jeremy Bentham sobre el sistema del panóptico para explicar las nuevas formas de la vigilancia en la sociedad de control.
Si Foucault sostenía que los sistemas coercitivos explotaban al ciudadano siguiendo el modelo del panóptico de Bentham (es decir, controlando exteriormente su actividad, observando sin ser observado), ahora han sido sustituidos por un sistema de dominación que, en lugar de emplear un poder opresor, utiliza uno seductor por el que los hombres se someten por sí mismos: gracias a internet las personas se entregan voluntariamente a la observación. Si en el panóptico de Bentham los sujetos estaban aislados, en el digital se comunican entre sí. Estamos, señala Han, ante un “enjambre digital” que lejos de ampliar la participación, implica una despolitización de la sociedad. Después del caso Snowden en 2013 (la denuncia del espionaje masivo por las agencias de inteligencia de los Estados Unidos), la idea de un panóptico digital no sólo no parece descabellada, sino bastante certera, aunque Han tiende a exagerar con sus sospechas: recela de la fotografía digital, Twitter, el teléfono inteligente, el correo electrónico y las Google Glass.
Vivimos en un cierto tipo de sociedad en la que estamos al borde de un embotamiento producido por lo que él llama «el medio digital» y esto podría traer, aparentemente, nuevas formas de alienación y un tipo de comunicación lleno de desencuentros, de pérdida de la sintonía.1
la comunicación digital se distingue por el hecho de que las informaciones se producen, envían y reciben sin mediación de los intermediarios. No son dirigidas y filtradas por mediadores. La instancia intermedia es eliminada para siempre […]. Medios como blogs, Twitter o Facebook liquidan la mediación de la comunicación, la desmediatizan.”.2
Con la irrupción de lo digital y la consiguiente pérdida de la distancia, donde el mundo se ha vuelto denso y todo acontece simultáneamente, es la era de la llegada generalizada, donde todo llega en el momento mismo de partir, es la reducción del mundo al espectáculo de su simultaneidad, todo se ha vuelto parte de un espectáculo.
Byung-Chul Han ha planteado que la pérdida de la distancia y la privacidad sumado a la fugacidad del hecho colectivo han cambiado no solo el tráfico y la forma de procesar la información sino que, mas profundamente aún, la misma identidad del sujeto colectivo actual. Ha hecho que se pierda la distancia y todo se haya vuelto parte de un espectáculo general, así como también ha hecho que, desde la instantaneidad de la comunicación, en las redes sociales por ejemplo, lo que aparece en el medio social sea esencialmente no reflexivo, quizás mas bien emocional y afectivo. Byung-Chul Han ha planteado que la pérdida de la distancia y la privacidad sumado a la fugacidad del hecho colectivo han cambiado no solo el tráfico y la forma de procesar la información sino que, mas profundamente aún, la misma identidad del sujeto colectivo actual.
El concepto de telecomunicaciones tiene una gran seriedad ontológica, en tanto que designa la forma procesual de la densificación. La elevada densidad implica, a su vez, una probabilidad cada vez más elevada de encuentros entre los agentes, ya sea bajo la forma de transacciones, o en la de colisiones. La digitalización de las comunicaciones producen una forma de mundo cuya actualización requiere diez millones de e-mail por minuto y transacciones en dinero electrónico por un monto de un billón de dólares diarios, transacciones a distancia.3 Tan sólo este concepto fuerte de las telecomunicaciones como forma capitalista de la actio in distans es el adecuado para describir el tono y el modo de existencia en el Palacio de Cristal4 ampliado (figura que apunta al capitalismo integral, y que Sloterdijk lo usa como metáfora de las sociedades del Bienestar – o si se quiere – del Primer Mundo). Sin embargo grandes regiones, los perdedores del juego de la globalización, se separan, en huelgas latentes o manifiestas, del dictado mundial del capital globalizado, dando lugar a destempladas reacciones desinhibitorias (terrorismo). Igualmente, como es posible constatar en muchas regiones, que sectores de población dignas de ser tomadas en cuenta le vuelven la espalda al sistema político con una indiferencia enemiga”.5 Así, la elevada densidad de la “convivencia” mal avenida genera la resistencia de la periferia contra la expansión unilateral de los negocios, maquillada de intercambios y acuerdos políticos bilaterales de libre comercio.
La transformación global de la cultura y los negocios no es progresista ni está marcada por los equilibrios. Las posibilidades tecnológicas de los nuevos media se inscriben en un marco de relaciones globales que son violentamente desiguales respecto a las capacidades de producción y distribución. Su desarrollo está sesgado por intereses económicos y militares que nada tienen que ver con la cultura en un sentido global, humano.
3.- Psicopolítica y el síndrome burnout. Neoliberalismo y nuevas técnicas de poder.
Su última obra, Psicopolítica: Neoliberalismo y nuevas técnicas de poder6 es un ensayo que arroja una de esas lúcidas miradas sob
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
Stunning architecture and a modern Christmas tree in Princess Square Mall in Glasgow.
Colin and I came here on our second date last year and stood and marvelled at the giant tree they had. Very different every year.
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
University & Course: University of London, Goldsmiths College, BA Fine Art.
Medium: Mixed Media, Audio Visual Loop and Sculpture
Artist Profile: I’m interested in exploring the subject surrounding the polymorphic nature within the human consciousness condition through my art practice in new media involving various software programs and the computer interface. Thomas Naickomparambil professor of philosophy, defines the word polymorphic when paired with the term, ‘consciousness’:
…“our consciousness is not governed by strictly intellectual concerns most of the time. This is due to the fact that the human conscious is polymorphic in nature. Etymologically the term ‘polymorphism’ is derived from the two Greek words polus (many) and morphe (form). Consequently, the expression ‘polymorphism of human consciousness’ signifies the (many forms) of human consciousness. The different patterns of consciousness often do not have clear-cut and fixed boundaries. They can overlap, mix, conflict and interfere with each other.1
An example is when using the medium of 3-D animation software, I am aware of my presence in front of a computer as well as the disembodied perception of being embodied within the machine whilst building, modeling and moving around an object. Perhaps using new media and in particular the computer as an implement in art making allows for new possibilities representing a polymorphic consciousness resembling the critical theory of post-humanism that is clarified as a transition in human consciousness or an “embodied medium through which critical consciousness is manifested. A narrativised, textualised version of a human,” or in other words “a non-physical manifestation of self.”2 It is as if symbolically the idea of both polymorphic consciousness and post-humanism found in new media gave demise to my use of the paintbrush in which I perceive as a metaphor for (Renaissance) humanism. In his book, The Posthuman Condition Consciousness Beyond the Brain, artist and academic writer, Robert Pepperell eloquently puts it, that from the beginning of our existence we have attempted to “extend our physical abilities with tools”; this is the “extensionist” (post-human) view of human nature, “… where (Renaissance) humanists saw themselves as distinct beings in an antagonistic relationship with their surroundings, post-humans regard their own being as embodied in an extended technological world.”
Piece Description: In the current video and sculpture installation piece titled, Buddha Hand Lemon (Citron) and Young Girl in Los Angeles, I’m investigating further the notion of an immersive embodied space driven by an electronically mediated environment, yet I seek that ‘it does not take itself too seriously’ and has room to include a critical distance. In the discourses of immersive aesthetics complete illusory is ideal, but illusory is subjugated by it’s very nature as it is artificial and can never be real. Much like the city of Los Angeles that appears as a lush (man-made) paradise, but in actuality it is a desert. Also as in my past works, my concerns are related to a sense of cultural identity, which develops across race, class, gender and cultural disposition. I’m absorbed not solely in the facets of the occurrence of polymorphic consciousness, but the luminal negotiation in between these identities where other potentials may emerge.
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
seminário/workshop "Meta_Body — o avatar enquanto construção partilhada" no âmbito do Festival Posthuman Corporealities. 2014
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography
Artist: Posthuman
Track: Free
Direction: Gerardo Marulanda / Angelica Fajardo
Record Label: Discos Probeta
Production Company: Carta de Color / Surdico Films
Producer: Javier Delgado
Post & Color Correction: Hi.End Studios
Editor: Hernando Norena
Scenography concept / Origami: Diana Gamboa / Luis Fernando Bohorquez
Styling: Carlos Alvarez
Video clip shot in Bogota, Colombia.
Cameras: Canon 7D and 5D Mark II
Editing: Final Cut Studio
Color Correction: Apple Color
October 27, 2018 at 12:00pmuntil November 11, 2018 at 5:00pm at GENERATOR Projects
The exhibition, “Flesh and Finitude”, has borrowed its title from Cary Wolfe’s book, What is Posthumanism (2010). It explores the boundaries of human life and body. What is the end of the human and where does something else begin? This year’s NEoN festival’s theme is ‘Lifespans’ and our exhibition’s aim is to investigate the ‘posthuman condition’, the lifespan of ‘human’ as we know it.
Five artists were invited to provide different points of enquiry into what it means to be human in relation to other species, Nature, objects, technology, and humanity itself.
“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that.” (Rosi Braidotti, The Posthuman (2013) p.1) Today, when artificial intelligence, 3D printed organs and genetic engineering are a reality, what it means to be human is extended and redesigned. At the same time, technological advancement also reflects on our relationship (and most importantly similarities) with the Other.
Digital and sculptural works reflect on different aspects of human and its boundaries, its uncanny symbiotic relationship with others, held together by a melancholic sense of uncertainty.
Curated by Zsofia Jakab
Artists:
Caitlin Dick (UK) – Caitlin Dick recently graduated from her Master’s in Contemporary Art from Edinburgh College of Art and previously studied a BA (Hons) in Contemporary Art Practice at Gray’s School of Art, Aberdeen. Caitlin’s most recent work The Problem Begins When…, shown in Embassy Gallery Edinburgh, has focussed on the fusion of the technological and the human, creating an uncomfortable hybrid through digital and kinetic sculpture.
Give in to that Easy Living expands upon this previous work, attempting to explore these matters in a playfully cynical way, experimentally introducing an object-based installation which highlights our relationship with the bizarre, posthuman form that technology has created. Mobility assistance devices, kinetic sculpture and film create a sad scene of near total technological integration. Technology has become an extension of ourselves, no longer a separate entity; we feel lost or uneasy without it. The expectation of connection to anything and anyone at any time and for it then to be reciprocated immediately is an assumed part of capitalist consumer culture. Not only do we need to be accessible 24/7, we also believe that it is essential to be constantly active as part of our techno-ego. Our technological addiction has melted into everyday life, becoming monotonously accepted as part of normality. Website
Caitlyn Main (UK) – Caitlyn Mains practice operates from a state of uncertainty: through sustained linguistic unravelling and temporal installation, she presents works that speak of intimacy, agitation and balance. She accommodates, and indeed, propagates conditions encouraging fragility: every piece has the potential to collapse in on itself, and contains obvious indications of temporality. The work is a physical manifestation of precariousness – the use of dangling, leaning, bound and suspended elements serves to underline the flimsiness of matter.
Mains compositions reverberate between a situation of familiarity and abstraction. As firm edges become dissolved, or ignored, the parameters of her work seem to become floppy, saggy, and fluid – seeping outward to be absolved into the daily mass of visual information that surrounds us. The flesh of her assemblages is that of the world – the bones and tendons extrapolated from the domestic and the detrital, from our illuminated back lit phone screens and the phrases uttered to one another. Her frantic constellations continually oscillate between contradictory states: they are simultaneously saturated and empty, humorous, pathetic, sexual, exquisite and insignificant. Website
Rodrigo Arteaga (CHILE) – Rodrigo’s work aims to redefine some notions and ideas around nature and culture, considering what sort of division can exist between them. He has used material culture that comes from science and its varied systematic methods in the form of books, maps, diagrams, furniture and tools. There is some inherent contradiction in this effort to bring together order and disorder, the useful and the useless, unearthing the coded enigmas of our relationship to the environment. He has responded to scientific culture in an attempt to embrace its limits, maybe turn it back onto itself, finding a crack, subjectivizing something meant to be objective. Website
Alicia Fidler (UK) – Alicia’s practice expands how aesthetics of an object can be used to allude to the presence of action and a premise for performance. Functionality and Agency are contexts, which she employs to transcend an object’s still state. Adopting motifs such as handles, hooks, hinges, nets, harnesses and hoops, she dips into our preexisting relationships with objects and actions. Using Function as a guide for how the body enters the work. ‘Where the handle meets the hand to produce the thing’.
The work’s interaction is the crux, the genesis. She is fascinated by the anticipation and desire for engagement with sculpture. Changing and twisting the nature of the body and the object, into a moment caught in time. She makes works, which in every sense give instructions and demand usage but are so still. Wrapped up in potentiality. Stalling the moment of activity, producing an object that screams its performative past and future out. Recently working with visual suggestion, she has begun to use photographs of past performances. Distorting them with pattern and abstraction. Absorbing images directly onto materials. Re-digesting the echoes of action, presenting a twisted instruction. Through self-referencing, function and performance my work has become anthropomorphic. The sculptures embody their own Agency through visual clues.
They play out their own situations and actions extending beyond the tools, objects and apparatus they resemble. She moves from the realms of interaction, into works that represent a single moment; Bodilyobjects. Website
Callum Johnstone (UK) Callum Johnstone’s practice explores environmental collapse and the implications it will have on humanity. Knowing that our environment is changing at an accelerated pace due to climate change, humanity must quickly adapt by re-imagining and re-designing the structures in which we live. Johnstone aims to show that it is not the physical structures alone which must change, by also the underlying structures of our society which need to be rethought.
Though his work is primarily understood as sculpture, it often verges on the boundaries of architecture and design. His structures often incorporate repeating modular elements which allow the potential for a continuation, acting simply as a beginning component to a much larger superstructure. These ideas can then extend to the actions of the individual which as a collective become a greater movement and have the potential to alter society as we know it. Johnstone sees himself not only as a commentator and illustrator of current events but also as a module of the superstructure we call society. As a catalyst of ideas, the artist intends to inspire a conversation on ways in which humanity may adapt to imminent environmental threats.
Image Credit: Kathryn Rattray Photography