A platform for current doctoral artistic research.

Thursday 6th and Friday 7th september, Kassel, Germany
As part of EARN activities at dOCUMENTA(13) there will be a platform of workshop events over two days in Kassel, in the context of the “activated projects” strand of d(13).

Overview:

This unique two day programme of workshops brings together 26 practitioners engaged in formal graduate research studies through an ongoing art practice. The programme includes a variety of workshop formats from discussion groups to practical workshopping and from presentations of work in progress to exploratory mappings of emergent fields of enquiry. The presenters include both internationally established artists/curators and artists/curators emerging into a space of international visibility for the first time. The overall goal of this two day platform of workshops is to provide an introductory overview of artistic research models as manifested across a variety of graduate programmes within the European Artistic Research Network. It is also intended that this two day programme may act as a lead-in to the major conference organised as part of dOUMENTA(13) on Saturday 8th And Sunday 9th of September. It is anticipated that a survey of divergent models and practices across the EARN network will help to inform subsequent debate by mobilising specific concrete exemplars of doctoral work in contemporary art to supplement and perhaps counteract more abstract and generic notions of “the academic” and “the institutionalised” etc.

1. “In search for the Blue Flower: A wandering in space and mind”
Laura Kuch (SLADE UCL)

2. “A (Running) Discourse with Kaidie”
Kai Syng Tan (SLADE UCL)

3. “The City as Choreographic Apparatus”
Beatrice Jarvis (GRADCAM ULSTER)

4. “Go to the format – design the format, go to the theme – decide the theme, do it”
Giulia Cilla – Ingrid Cogne – Elske Rosenfeld (ACADEMY OF FINE ART VIENNA) “

5. “Territory, Acceleration, Entropy”
Fiona Curran (SLADE UCL)

6. “How to Work in Venice”
Martino Genchi

7. “Background noise”
Giovanni Giaretta (IUAV Bevilacqua Ateliers)

8. “Visions of Unlearning”
Annette Krauss (UTRECHT)

9. “Fiction in the Expanded Field”
Jem Noble (GRADCAM DIT ASSOCIATE RESEARCHER)

10. “Ambiguity and Discomfort in an Institutional Body”
Henna Halonen (FINNISH ACADEMY OF FINE ART)

11. “Occupation of an Artwork”
Dave Loder (GRADCAM ULSTER)

12. “Invoking the radical potential of imagination in research”
Kay Tabernacle (SLADE UCL)

13. “Dimensions of Dialogue”
Tim Long (SLADE UCL)

14. “The Situation Room (Otaq-e-Wazyat)”
Michael Delacruz (SLADE UCL)

15. “A Labour of Moles”
Eleanor Morgan (SLADE UCL)

16. “Every sentence draws blood”
Johan Thom (SLADE UCL)

17. “Sunsets”
Lisa Tan (VALAND ACADEMY GU)

18. “Curating Research Workshop”
Georgina Jackson –Rana Öztürk – Aislinn White (GRADCAM)

19. “Inter/ Intra: Two Artists and an Audience”
Eirini Boukla –Claire Hope (LEEDS)

20. “(*late afternoon confusion) – Immigration humans plants animals things”
Elke Marhöfer (VALAND ACADEMY GU)

21. “Vowing to Dismantle ‘The Persistent Belief in Economic Growth’: Another leap into the void”
Errol Francis (SLADE UCL)

22. “The absence of Ai Weiwei and the presence of artwork in Taiwan.”
Hsu Ming-Han (TAIPEI NATIONAL UNIVERSITY OF ARTS)

1. “In search for the Blue Flower: A wandering in space and mind”
Laura Kuch (SLADE UCL)

ABSTRACT: “What attracted him with all might, was a tall, clear-blue flower, growing beside the well, and almost touching him with its broad, glistening leaves. Around it were countless other flowers of all colours and their odours filled the air with an exquisite fragrance. He saw nothing but the Blue Flower and long, he gazed at it with unspeakable tenderness. At last, he wanted to approach the flower, when suddenly it began to move and change…” This passage from the novel fragment „Heinrich von Ofterdingen“, by the early German Romantic Novalis, published in 1802, describes a dream the protagonist, a young poet, has in the beginning of the novel, before he sets off to his journey. The “Blue Flower” and the continuous search for it became a central symbol in German Romanticism since. A metaphor for the ineffable that can never be satisfyingly described with words and maybe the Blue Flower can never be picked. And yet the Romantic longs to find it – without having a clear definition of what exactly it is, he or she is looking for – and sets of to a wandering with no final destination and no final resolution but many things to be found on the way. In this see not only an analogy to (the process of) artistic creation, but also to a form of fine artistic research congruent with art making. The workshop can be described as a wandering in space and mind, exploring artistic creation and research through romantic ideas and conceptual practice. In the first part of the workshop the participants will be asked to go for an actual wandering, a stroll through the city of Kassel, and bring back one or more objects which caught their eye on the way. The participants will then be instructed to perform a practical exercise with these objects by means of a conceptual artistic method. Together we will then try to work out to what extent these (intuitively found) objects also function as find-ings holding the potential of knowledge production when they are recontextualised.
BIOGRAPHY: Born 1980 in Germany, Laura Kuch studied Fine Art with Prof. Heiner Blum at the Academy of Art and Design Offenbach and at the Academy of Fine Art Städelschule Frankfurt in the sculpture class of Prof. Tobias Rehberger, where she graduated in 2008 as Meisterschüler. She lives in London where she is currently working towards a practice-led PhD in Fine Art at the Slade School of Art. Laura Kuch is exhibiting her works since 2002. Among others she had solo shows at the Galerie Lorenz Frankfurt and the Nassauische Kunstverein Wiesbaden and participated in many group shows such as at the Federal Exhibition Hall of Germany, Bonn, the 2nd Moscow Biennale, the 4th Gothenburg Biennale, the Centre of Contemporary Art Prishtina, Kunsthalle Luzern and Arts Depot London. She received scholarships from both the DAAD and the German National Academic Foundation. The ideas of the German Romantic writers have been a major source of inspiration for Laura Kuch’s work during the past years and their relation to and relevance for conceptual artistic practice has now become the subject of her current research. Within her artistic practice she is concerned with the possibilities of poeticising by transforming common objects or materials into something more complex and intangible through conceptual approaches. In her objects, installations, drawings, sculptures and videos she intentionally, with almost laconic gestures, ignores the conventional usage and understanding of things, materials and platitudes and that which we think we know about them. She insists, as she says, “on their poetic and metaphysic potential”, and shows, not without tongue in cheek, “a view of things as they could be – and in fact already are.”

2. “A (Running) Discourse with Kaidie”
(Practical workshop combining running and discussion)
Kai Syng Tan (SLADE UCL)

ABSTRACT: The Chinese word for discourse, ‘dao’ (‘tao’), consists of the radicals of a head and feet, linking thinking and movement. It can be argued that the specific locomotion is running. This speculation comes from the fact that the Latin root word of discourse, ‘discursus’, refers to running to-and-fro. These two strands of thought are brought to life in this work, in which visitors can join ‘Kaidie’ in a light run – while running light-hearted and light-footed discourses about the themes of dOCUMENTA 13 and EARN. Kaidie can be understood as a facilitator, leading the run as well as discourse alike. However, what happens along the way – digressions, deviations, walk-outs included – is up to her co-runners. With this work, we are not only following in the footsteps of the Chinese sages who were peripatetic and equated nimbleness with life, stillness with death. We are also evoking the spirits of mathematician Alan Turing and novelist Haruki Murakami, for whom running played an important part of their creativity. Moreover, this work can be understood as a playful affront to traditional or dominant approaches of knowledge production. Additionally, Kai’s PhD research (in both her written thesis and studio practice) focuses on running, in both the literal and figurative senses of the word, and as both subject matter and methodology . Hence, this work can be seen as a metaphor for the tension between art and research, which seems to be one of the oft-debated points about the value of the ‘Fine Art PhD degree’. Possible topics of the discourses during the run include:
• the possibilities of artistic research
• the tension between artistic creation and its place in the institution;
• the possibilities of discourse, including the ‘non-discursive, the not-knowing, the intuitive’;
• if knowledge production is considered as ‘productive’ in a capitalistic economy (this point has added significance with the fact that Kai/Kaidie, who originates from a well-heeled country of Singapore, produces art that is economically-suspect)
• non-logocentric approaches to discourse
The work also fulfils EARN’s aims in involving public access and interactive contribution.

BIOGRAPHY: Trained in London, Chicago, Tokyo and Singapore, inter-disciplinary artist-curator-educator Kai Syng Tan is a restless mutt. Kai’s installations, performances, films, texts and so on have been shown in more than 45 cities (ICA London 2005, Guangzhou Triennale 2007, House of World Cultures 2005). Since being named ‘The Most Promising Young Artist’ at the age of 18 in a painting competition, Kai has won a few awards (San Francisco International Film Festival Merit Award 1999, the Young Artist Award 2007), grants (3 full scholarships and travel grants from the National Arts Council of Singapore), and residencies (NIFCA 2006, Japan Foundation 2008). The leitmotif of Kai’s research – and life – is that of being on the run, which is also the topic of her research PhD in Fine Art at the Slade School of Fine Art. For the purpose of the project, Kai has picked up running, and has participated in 8 races, including the London Marathon 2011, raising money for charitable organisations along the way. Previously she has swum (in her film Chlorine Addiction 2001, which was shown at Transmediale 2000 and Yamagata International Documentary Film Festival 2001), and ‘hopped’ (in her Islandhopping 2002-2005, a large body of work which has been shown at about 40 exhibitions including the Biennale of Sydney 2006). For 4 years, Kai was an advisor in a panel at the Media Development Authority of Singapore, and for 7 years she was a lecturer in a film school, and ran a Video Art degree programme at an art university. Kai was named ‘one of Singapore’s foremost video artist’ (Dr Eugene Tan 2007), and her permanent video installation is now on display in a central subway station in Singapore. Come October, Kai will travel to India as one of the curators of the International Delhi Film Festival 2012. She had previously put together a film program for the Cinema South Film Festival 2008 in Sderot, near the Gaza Strip, and having survived that, travelled to Moscow to show her video projections in a theatrical production – as well as sing and dance, as an on-stage performer – at the Dom Musiki. Grab her at kaisyng@yahoo.com.

3. “The City as Choreographic Apparatus”
(Practical workshop on performance and movement in research)
Beatrice Jarvis (GRADCAM ULSTER)

ABSTRACT: This choreographic/ movement workshop and roundtable discussion forum is designed to address the potential impact of collaboration between urban design and choreographic practice as a research resource for urban spatial use evaluation. Through collaborative score based exercises we shall explore the affects of landscape, place and urban texture on the body, striving to reconsider and revalue the relationship between the city dweller and landscape. Investigating the choreographic framing of the movement of daily life in various urban spaces can develop innovative observations for further application of potential spatial re-patterning and re-organization. Through the use of choreographic photographic techniques; this workshop will explore how far the image can, on application, become ‘valid’ and ‘useful social and planning document as well as within fine art practices. The background of this event lies within the desire to test how photographic documentation of site-specific intervention and choreographic framing of daily space use can contribute to the ethnography of place through practice-based research. Exploring through embodied practice based research the fundamental argument that space cannot be divorced from the social and political fabric from which it is woven; and how far can choreography explore and expand this dialog.
– How far does the city facilitate or hinder certain patterns of social movement and exchange?
– How far can the architecture of a city generate movement patterns, which can be seen as separate from alternative urban terrain? – How far can the movement vocabulary ‘learnt’ and generated within this research generate specific interactive site performances in which the public are not merely audience and stimulus, rather become critically engaged with the research concept behind the materials displayed?
– Can practice based research within the fields of choreography and urban design be used as a social tool to define and resolve communication issues between space designers and space users?
– How far can the body become reflective mechanism for the experience of the body in the city and how far is the city shaped and moulded by the actions and reactions of the body? How far can these issues be successfully explored and demonstrated through practice based research?

BIOGRAPHY: Beatrice is an urban space creative facilitator, choreographer and researcher. She utilizes key concepts of choreography and visual arts methodologies with the intention to develop, original doctoral research on the connections between choreography and urban cultures. She is currently undertaking her practice based PhD funded by DEL titled; The Choreographic Apparatus| How Far can Choreographic Practice be used to Develop New Methods to Explore and Offer Insights into a Range of Urban Contexts. Her practice merges essential techniques in a sociological framework of critical perspectives. Beatrice is currently a visiting lecturer at various town planning and architecture departments in London developing a platform for the conceptual and physical integration of urban planning, sociology and choreography leading to practical social creative implementation. As a dance artist she works in Romania, Gaza, Germany and Northern Ireland to generate large scale choreographic works underpinned with a sociological inquiry; exploring the social power of movement. Beatrice is keen to create platforms social interaction using urban wastelands and reflections on urban habitation as a creative resource; her research currently focuses on how far choreography practice can develop a new methodology to interrogate a range of inner city conflict zones. Beatrice has recently initiated a new urban forum: Urban Research Forum for artists, architects, urban designers, cultural researchers, sociologists, anthropologists and all with an urban interest. This is conducted through seminars, workshops, performances and exhibitions. Collaboration, discourse and intellectual inquiry are seminal to this concept. The city with her practice becomes a live laboratory for social and spatial research of urban space use developing from this research innovative and interactive future space use programs through creativity. (Dartington College of Arts 2005-8 Choreography and Visual Arts BA hons First Class, MA Goldsmiths’, Centre of Community and Urban research, AHRC Funded; PhD, Ulster; Architecture and Art and Design, DEL funded) http://beatricejarvis.com/

4. “Go to the format – design the format, go to the theme – decide the theme, do it”
Giulia Cilla – Ingrid Cogne – Elske Rosenfeld (ACADEMY OF FINE ART VIENNA) “

ABSTRACT: The proposal: to use the occasion of the meeting of practice-based PhD-candidates from the EARN-institutions/academies to create a workshop for discussing and acting on the context/s – institutional, financial, political … – that participants find themselves in. With an organic structure, we aim to create a situation, in which the format and content of the workshop is decided and designed as we go along – a test arrangement which reflects on and messes with the conventions of how workshops and discussions have come to be organized. This is a scenario that reckons with its own failure in order see what might be produced in the fall-out of this premeditated unpredictability. In this process-oriented format, is the notion of “workshop” appropriate? In this open proposal, can a situation with three facilitators be non-hierarchical? In this short time-frame, can we collectively go beyond the talking and reach the doing? Exploring the connections between theory and practice in order to produce a situation of sharing and to better understand how we situate ourselves as PhD-candidates:
– We will start with sharing a selection of existing formats for meeting, decision-making and collective production: the recent occupy asambleas, mediation methodologies, Augusto Boal-workshops, the Round Tables of 1989, Talleres de Barrio in Argentina 2002, the moving-conversation, …
– Depending on the collective dynamic, a moment will be dedicated to physically arranging ourselves and the space around us in order to begin to talk and make things happen.
– Then, themes/issues/problematics from the different experiences and positionalities of our respective programs will come into view through discussion; regarding aspects such as the physical conditions (spatial set-ups, commuting, work-hours, etc.), economic situation, political and ethical frames, theory vs. practice relationships and institutional settings of our individual PhDs. From the collected themes, two to three will remain as the focus of the situation… probably the most pertinent and activating for the people present.
– Finally, what outcome of the discussion could we come up with: Traces, tracks, actions, pro-actions…, collectively written texts, a manifesto or counter-manifesto, complaints or concrete demands, a small-scale network in between ourselves?
Format selected, content, ambition agreed upon – now we are ready to start. The ensuing discussion takes itself seriously, even if it might be chaotic or need to readjust itself constantly. We hope for an experiment in speaking and working together, to take participation seriously, while allowing for madness to happen, to be proactive and use our being together to create something that might be of use beyond the workshop’s confines.

BIOGRAPHY Giulia Cilla: Born in Locarno, Switzerland, 1983. Swiss, Italian and Uruguayan nationality. Giulia is a cultural producer and a multidisciplinary artist dealing with memorial politics and practices of re-writing of history in Latin America in the aftermath of the last military dictatorships; with a particular interest in how the women’s movements have contributed to reconfigure both the political and the artistic territories. Her work attempts to create an emotional reflection on historical material, rather than treating the subject from an objective and linear approach. She is currently implementing a methodology of reciprocity which aims to highlight the influence of trauma theory and psycho-politics and its influence in both institutional and subversive memorial politics. Giulia lives and works in Geneva and is currently a participant of the PhD in Practice program at the Academy of Fine Arts in Vienna and a recipient of a DOC-Fellowship of the Austrian Academy of Sciences. [http://paisitos.wordpress.com/]

BIOGRAPHY Ingrid Cogne: Born in Fontaine-lès-Dijon, France, 1977. Artist-choreographer based in Stockholm, Cogne sees choreography as a way to create movement and suspension, circulation and time, positioning and displacement in relation to Economy, Knowledge, Work and Individuals. Obsessed by the “in between” and what constitutes the dynamics of meeting, Cogne focuses on the process and the dramaturgy of existing or created situations. Labor, consistency and time are central. With soft provocation for movement in representations and structures, she is slowly, progressively shaking, shifting the perception(s) and the perspective(s). Her artistic proposals problematize the relationship and create a floating definition of the positions and status subject-object of both the artist and the spectator(s). In October 2011, Cogne started a PhD in practice at the Academy of Fine Arts Vienna. Cogne’s project is titled ”Displacement(s) as Method(s)”. [http://ingridcogne.net/]

BIOGRAPHY Elske Rosenfeld: Born in Halle, East Germany, 1974. Elske’s work explores different methodologies – installations and video, writing and talks, workshops and events – to refocus the diverse historical positions of criticality and dissidence within the different state socialisms of the former Eastern bloc and, in particular, the upheavals of 1989/ 1990. Using her own biographical experience, as well as other materials and stories that often brush up against the dominant representations of those histories, her artistic methodology aims at creating constantly reassembling communities of discussion and contestation through which the obscured political potentials of those histories might re-emerge. Elske lives and works in Berlin and is currently a participant of the PhD in Practice program at the Academy of Fine Arts in Vienna and a recipient of a DOC-Fellowship of the Austrian Academy of Sciences. [www.elskerosenfeld.net]

5. “Territory, Acceleration, Entropy”
(Presentation)
Fiona Curran (SLADE UCL)

ABSTRACT: My proposal for Documenta centres around question 5 from EARN and ideas of “political economy”. I would however, shift the focus of this to questions of political ecology, and a consideration of capital’s co-option and corruption of landscape space in its endless quest for new spaces to colonise and exploit. I plan to initiate a process of building a structure of some kind over the three-day event. I would invite participants to ‘find’ discarded materials in the city and bring them back to the venue where a structure might begin to take shape.

BIOGRAPHY: Fiona Curran is a research student at Slade School of Art, University College London.

6. “How to Work in Venice”
Martino Genchi (IUAV Bevilacqua Ateliers)

ABSTRACT: This presentation will describe the process of working in Venice at the IUAV, Fondazione Bevilacqua la Masa, and the Atelier programme.

BIOGRAPHY: Martino Genchi work focus mainly on the complex interaction between the reality and its observer, by testing and stressing the limits of what is called individual (not divisible). Forcing the behaviour of the artwork and through an experimental approach to different medias he is trying to attack the areas of certainty of the thought. In recent times He has been participating to some of the best artist-in-residence programs in Italy, such as the Ratti Foundation advanced course in Visual Arts (2012), The one year Atelier Program at BLM Foundation in Venice (2011) and an intensive workshop with residency at the Spinola Banna foundation (2008). Recently an interview has been published by Flash Art Italia. At the same time he has been involved in several exhibitions both in Italy and Europe. In 2011 he has been shortlisted for the Lum prize in Bari (Italy) and selected for the Bosch Young Talent Award in s’Hertogenbosh (Nederlands). In 2010 he showed his work at Viafarini (Milan), the best known nonprofit space of Italy and curated a double solo show at Villa Benzi Zecchini, that has been an interesting challenge because of the more than 700 square meters of the space. In 2009 He exposed with Gruppo IX in a collateral exhibition for the 53rd Venice Biennal and has been invited from the Italian artist Mario Airò to participate in Transvisions exhibition, curated by Luk Lambrecht and Koen Leemans for the BKSM Cultuurcentrum Strombeek (Belgium). Martino Genchi is born in Milan the 31st of July 1982 but grew up in Pantelleria, a small volcanic island on the south of Sicily. He obtained his MFA at the IUAV University of Venice (Italy)

7. “Background noise”
Giovanni Giaretta (IUAV Bevilacqua Ateliers)

ABSTRACT: In my artistic practice, it is always necessary to reinvent a way of working even if, the process remains hidden. Instead of starting with the most obvious phenomena, it is often important to focus on the minor and secondary elements. It proceeds by assumptions, suspicions, and feelings that may remain hidden for months in a corner of the mind. Similar to a hypothetical science of investigation that does not always understand an exact cause or effect. My pratice is a way of thinking that moves through the accumulation or removal of mixed influences from the history of cinema and the anthropology of everyday life. During a moment of research I proceed for suppositions, annotations and notes. I like to fall in love with some of the details or some of the themes, but after this moment a work, should be a kind of “healing”, which obviously still carries with it the consequences of love or disease.

BIOGRAPHY: Giovanni Giaretta was born in Padua 1983. After graduating in Design and Production of Visual Arts at the University IUAV of Venice, in 2010 took part in the residency program of the Dena Foundation for Contemporary Art in Paris and Bevilacqua La Masa Foundation in Venice. Selected group exhibitions: Livret IV, curated by Irmavep Club, Musée départemental d’art contemporain de Rochechouart, Rochechouart, France. 2012; Opera 2011. Lunar Park. Artists from the Atelier, Bevilacqua La Masa Foundation, Venice, Italy. 2011 – Run°3, Room Galleria, Milano, Italy, 2011. Livret III, curated by Irmavep Club, Motive Gallery, Amsterdam, Netherlands. Corso Aperto, curated by Cesare Pietroiusti, Fondazione Antonio Ratti, Villa Sucota, Como, Italy. 2011; To see an object, to see the light, curated by Ginny Kollak, Padraic E. Moore and Pavel S. Pys, Palazzo Re Rebaudengo in Guarene Alba, Cuneo, 2011; 100 Drawings Against The Vietnam War, curated by Komplot and Le Commissariat, Brussels, Belgium 2011. Titolo Grosso, Cripta 747, Turin, Italy 2010. In 2010 he curated Kosmograph, a special project for 2video – Undo.net.

8. “Visions of Unlearning”
Annette Krauss (UTRECHT)

ABSTRACT: This session will workshop around unlearning to ride a bike. In this respect, one important question will be how to grapple with the persistence of bodily knowledge. In order to grasp this dimension, we will engage in the endeavour of unlearning to ride a bike. Because, once one has learned to ride a bike, it is almost impossible to forget it. Thus, how to engage in getting rid of the ability to ride a bike? And furthermore, what is gained by the attempt to unlearn? What prevents us from unlearning? What visions do we have concerning the impossible? How do we cope with failure? Which role do bodies, meanings, institutional and material settings play in these endeavors?

BIOGRAPHY: Annette Krauss (Utrecht/NL) In her conceptual-based practice Krauss addresses the intersection of art, politics and everyday life. Her work revolves around informal knowledge and institutionalized normalization processes that shape our bodies, the way we use objects, engage in social practices and how these influence the way we know, perceive and act in the world. Her artistic work emerges through different tools (performance, film, historical research, pedagogy and texts) trying to explore the possibilities of participatory practices, preformativity and investigations into institutional structures in order to work/think through the question: How do we know what we know? Exhibitions/Projects include ‘Invisibilities’ The Showroom London 2012; ‘For Einhoven’ Van Abbemuseum Einhoven/NL 2011; ‘We are Grammar’ Pratt Gallery/New York 2011; ‘School Days’, Lewis Glucksman Gallery/Cork 2011; ‘Manufacturing Today’, Trondheim 2010; ‘2 oder 3 Dinge’, IG Bildende Kunst, Vienna 2010. ; ‘Extra-Curricular’, JMB Gallery/Toronto 2010; ‘Momentum’, Nordic Biennale, 2009; ‘World in Hand’, Kunsthaus Dresden 2009; ‘Hidden Curriculum’, CASCO, Utrecht 2008.

9. “Fiction in the Expanded Field”
(installation and discussion)
Jem Noble (GRADCAM DIT ASSOCIATE RESEARCHER)

ABSTRACT: “Are Spastics like Elves? A Provocation Concerning The Agency Of Fictions.” Established in 1952, The Spastics Society, established to support people with Cerebral Palsy (CP),changed its name and re-launched as Scope in 1994. The administrative procedure took place after extensive stakeholderand public consultation following two alarming trends: declining charitable support from members of the public and endorsement from high-profile public figures; and a significant drop in the number of families of children diagnosed with CP approaching the charity for advice. In British culture,the term spastic had become an insult, negatively indicating incapacity, particularly mental impairment, comparable to the North American jibe, retard. CP is a condition affecting motor skills, often including speech capacity, rendering communication in sever sufferers prolonged and difficult to understand, but not affecting cognitive function. Scope research showed that people with CP attuned to the semantic drift in the designationspastic no longer identified with its implications and found its association and misappropriation embarrassing and cruel. Misinterpretation of spasticism and its effects produced a separation between the lived reality of people with CP and they way they were widely imagined. This imagination, at odds with physical conditions was adrift from an appropriate referent. Spastics had become fictionalized. It was a fiction with significant power – what Bruno Latour has called ‘actancy’ – in its capacity to enact transformations in the world. What does such an example indicate as to the relationships between imagination and reality, when imagination is, after all, a feature of the real? Is any form of engagement between entities, physical and cognitive, anything other than partial, provisional and emergent through practices and processes, as posthumanist perspectives suggest? If not, how does this entanglement of forces affect representationalist conceptions of knowledge, characterized by the real and the imaginary in dialectical opposition? What kind of art practice follows from a non-dialectical approach to imagination and reality?
References: The Spastics Society To Scope, The Story Of The Name Change And Re-launch, November 1994

BIOGRAPHY: Jem Noble works with diverse methods and media. His practice connects conceptual art and post-humanism, addressing in part the mutual entanglements of materiality and subjectivity in a collision of ideas, gestures and materials that pitch the often stern, esoteric language of theory against vibrant, dark and humorous explorations of form. Ideas of individuation and interdependence resonate throughout this work, lately encompassing an interest in neoliberalism and questioning what dynamics between the individual, the social and the material it assumes and produces. He is founding member of the Blackout Arts expanded-cinema collective and was co-director of Venn Festival of new and exploratory music and sound between 2004 and 2008. He is currently working towards a practice-based PhD in fine art – Fiction and the Fabric of Form: Non-Dialectical Approaches to Imagination and Reality – in association with The New Ruined Institute. This research develops earlier work with cut-out video images, addressing questions of the frame, narrativity and collapse and includes emergent explorations with blackout-cloth installation and the tiling of images using structuralist manipulation of digital photography.

10. “Ambiguity and Discomfort in an Institutional Body”
Henna Halonen (FINNISH ACADEMY OF FINE ART)

ABSTRACT: Socially engaged art practice-work that seems to exist through a wish to improve or comment upon the community through collaboration and participation can often be tokenistic. I aim to ask what kind of aesthetic language we need in order to defend the social practices and research of art from being completely co-opted by socio-economic system that provides their lifeblood? In current discourse on aesthetics and politics, a range of complex issues are at stake: the orders of mind and matter; visual language, the disruptive dynamics, and of ambiguity; the logics of innovation and of the “event”. How can we create spaces and events in which social possibilities are both rehearsed and performed and discomfort is used as a productive source? Using paradox as a revelatory tool my research looks into accessing and dissembling the text through speech, visual interaction and questioning artists position, aiming to reveal discomfort involved in turning thought into action through repetition. Consequently, further exploring some propositions from internal and external perspectives and extend the idea of ‘critical practice’ to incorporate the structure of the event itself. Starting with the acknowledgement that there is very often some sort of dramaturgy involved in any encounter this event will search for new modes of representing and constructing reality (ies) while still engaging with social and political contents. It aims to propose forms of Intervention in which a disruptive dynamics and rhythmic ambiguity are inserted into a set of social and political relations.

BIOGRAPHY: Henna-Riikka Halonen is a visual artist, Currently living and working in Helsinki, Finland. She graduated with MFA Fine Art from the Goldsmiths College, London in 2006 and is currently a Doctoral student in Fine Art, at Academy of Arts in Helsinki. She has shown her work widely in international exhibitions and festivals. Recently in Gallery factory, Seoul, Korea, Musrara Mix, Jerusalem, Brussels International Film Festival, Hors Pistes at Centre Pompidou, Paris, Gallery Art Claims Impulse, Berlin, Loop Video Art Fair, Barcelona, Grimmuseum, Berlin, Gstaad Film Festival, Switzerland, Incheon International Biennale, Korea and ARTE TV Channel (France/Germany) Halonen uses a wide range of historical and cultural references, including Avant –Garde theatre and science-fiction literature – testing the tensions between performers and their collaboration with artist, and acting and non-acting. She has worked on and produced many collaborative large scale video projects and commissions in UK, Israel, Ireland, France and Finland. www.hennariikkahalonen.me.uk and www.av-arkki.fi/en/artists/henna-riikka-halonen_en/

11. “Occupation of an Artwork”
Dave Loder (GRADCAM ULSTER)

ABSTRACT The aim of the discussion is to address issues that surfaced during my time as an artistic researcher with the Maybe Education program and activated projects at dOCUMENTA (13), where I was required to occupy an artwork for an extended period of time. The nature of the activated project to which I was attached, “The Art of Sahrawi Cooking”, has a particular consideration to the term ‘occupation’. What was required of me was a negotiation of my own position of occupation within an artwork. But in addition, and following a series of events, what was required was the negotiation of the position of the artwork as a whole within another artwork. Within any state of occupation, there is a practice of maintenance that must be actively pursued, of occupier over the occupied. Within most periods of colonial occupation, a degree of deterritorialisation is manifested. How does the act of maintenance, and the manner to which it is employed, relate to territorialastion processes when discussing an art work? What is the nature of the deterritorialisation that may occur between the art works and can the new hybrid art work, if indeed that is what it can be considered, be allowed its own position of occupation? Is this conception of occupation in opposition to collaboration as an art practice, in which problematics of ownership are obscured, where distinctions are maintained?

BIOGRAPHY: Dave Loder is an artist and researcher undertaking doctoral research at the University of
Ulster, Belfast, with the working title of his thesis as “The Artist’s Manifesto: Stammers and Echoes”. The practice based research project aims to question if the overwhelming volume of the modernist artist’s manifesto can be sufficiently considered as a genre or medium and to directly address the works from a surgical position of political subjectivity. At the core of this research is a conception of the temporal, in a myriad of forms; the progress of modernity, the performativity of the artist manifesto, the event of subjectification, the ontological negotiation of speech acts and language, revolution as a recurring historical event, and the theory of the encounter within contemporary art discourse. In order to negotiate a contemporary position for the artist manifesto, the practice element of the research projects attempts to deploy situations that suspend or disrupt an ontological state of being. This temporal function of this it two-fold; the first is to provide a trajectory of escape for the subject from the ‘always-already’ position of interpellation within ideological apparatus, and the second is to foster a state of becoming, a condition within a multiplicity prior to being. Since completing his MA Art & Space at Kingston University in 2008, Dave has been a post- graduate Lecturer at Kingston University, co-director and curator of the Toilet Gallery, London, and has exhibited work and completed residencies across Europe. Recently he has co-founded the Ulster Research Salon in Belfast, a collective of current and past doctoral researchers which is dedicated to practicing artistic and trans-disciplinary research within academic and extra-academic settings in Northern Ireland and beyond.

12. “Invoking the radical potential of imagination in research”
(Facilitated discussion of art and research)
Kay Tabernacle (SLADE UCL)

ABSTRACT: Invoking the radical potential of art in research¹ is a facilitated discussion which asks whether there are implication for research from art and how imagination can be part of a rigorous research method. Rather than imagination being limited by research protocols, this discussion proposes that imagination is essential to research and underpins all research disciplines. Imagination is at the root of theory as contemplation, speculation and looking at; seeing is also a metaphor for knowledge. The domain of imagination could be a point of contact between a wider research environment and art by reflecting back necessary and useful qualities and through art practice being open to unforeseeable outcomes. Imagination also has the potential to challenge habitual ways of thinking. In some accounts of imagination all thinking takes place within a self that is constructed by imagination. Could a radical imagination emerge from art research to create new forms of knowledge or consciousness?

BIOGRAPHY: Studied at Cardiff School of Art and Design (and Accademia di Belle Arti Lorenzo da Viterbo) and the Slade School of Fine Art. Lives and works in London. Currently studying within the MPhil/PhD programme at the Slade. My research is about imagination in relation to the work of the German artist Hannah Höch (1898-1978) during the period of her collaborative work with the Dutch writer Til Brugman (1888-1958) from 1926-1935. It involves testing and exploring issues and questions about imagination through painting and other forms of practice. [http://www.kaytabernacle.com]

13. “Dimensions of Dialogue”
(Puppetry interface with exhibition process and discussion)
Tim Long (SLADE UCL)

ABSTRACT: This session seeks to open out dialogue on research and dOCUMENTA(13) through the use of wooden faces and puppets specially made for the occasion.

BIOGRAPHY: Tim Long is a researcher at Slade School of Art, University College London.

14. “The Situation Room (Otaq-e-Wazyat)”
(Installation viewing and discussion)
Michael Delacruz (SLADE UCL)

ABSTRACT: In collaboration with two Afghan filmmakers and in response to the events of dOCUMENTA (13) in Kabul, Afghanistan, “The Situation Room (Otaq-e-Wazyat)” will attempt to expose workshop participants to an ‘intersection’ of both oriental and Western classical narratives and contemporary geopolitical themes. The workshop discussion will centre on a temporary installation in the Queens Palace of Bagh-e-Babur in Kabul of a video-projection and a series of portable workstations arranged on a conference table which will allow participants to type text comments as the images of the projection ensue. Live commentary from the workstations will be simultaneously projected in a separate register from the main visuals, which will be comprised of free streaming texts from classical antiquity, narrative representations from the ancient Persian literary tradition, interposed graphical displays of a quasi-strategic or tactical nature, and free-form abstract images. The overall configuration of the installation will emulate that of an ad-hoc tactical operations center (TOC) or situational awareness room (SAR) which is typically deployed for command/battle-staff training exercises. The Kassel workshop will provide a partial, filmic representation of the Kabul installation, and following commentary by the artists about the collaborative process, an open discussion about the relation of the work to dOCUMENTA (13) [in Kabul] theoretical concerns of transposition and transcendence of time, geography, and culture through expressive means.

BIOGRAPHY: Prior to pursuing his research degree at the Slade School of Fine Art, Michael served for several years as a US Army and US Marine Corps officer, serving in both special operations and defense intelligence units in the Former Yugoslavia, Iraq, Jordan, Palestine, and Afghanistan. He subsequently served as a civilian counter-insurgency advisor with the Office of the Secretary of Defense in Washington D.C. and is presently an advisor on strategic planning for the Ministry of Interior, Afghanistan.

15. “A Labour of Moles”
(Presentation, discussion and hands on activity)
Eleanor Morgan (SLADE UCL)

ABSTRACT: A short performance lecture on the relationship between moles and archaeologists, which will end in a collaborative sift through a molehill Specially preserved and brought over from England.

BIOGRAPHY: Eleanor Morgan is an artist based in London. She works in a variety of media, including print, sculpture and video, to explore the mythical and material entanglements between humans and other animals. This has included creating duets with spiders, embracing a giant sea anemone and encouraging ants to draw self-portraits. She has exhibited nationally and internationally, and has presented performance lectures in arts and public venues in the United States and Britain, most recently at the Institute of Contemporary Arts in London. In 2009 she was awarded a research council studentship (AHRC) to undertake a practice-related PhD at the Slade School of Fine Art, University College London, where she is researching the history of human uses of spider silk. More details of her work can be seen on her website at www.eleanormorgan.com.

16. “Every sentence draws blood”
(Performative presentation)
Johan Thom (SLADE UCL)

ABSTRACT: Broadly speaking my research concerns the materiality of the artwork as veritable part of the meaning making process. I wish to collaborate with a tattoo artist in Kassel To design and write a disappearing text upon my body. The Tattoo will be ‘inked’ with water meaning that it will be visible only for a few days before it heals and disappears.

BIOGRAPHY: Johan Thom (Johannesburg, 1976) lives and works in London. He uses video, installation and performance to create material links between the human being and their surrounding environment. His works are often confrontational and darkly humorous, seeking to confound the viewers’ sense of space, order and stability.
Thom has participated in numerous group exhibitions/ art-projects at venues such as ‘Performa 2010’ in Slovenia, ‘.za: New Art from South Africa’ at the Palazzo delle Papesse, Sienna Italy, (2008), the Canary Island Biennale curated by Atonia Zaya (2006), the Belgrade International Theatre Festival (2006), the Britto Arts Trust in Bangladesh (2006), the Rotterdam Film Festival (2006), the Venice Biennale (2003 & 2005), the CRIC/Pro Helvetia residency award in Sierre, Switzerland (2004/5), the Ampersand Fellowship in New York (2005), ‘Dada South?’, Iziko South African National Gallery, Cape Town, South Africa (2009) and various other national arts festivals and group exhibitions in South Africa. At present Thom is competing a PhD in Fine Art at the Slade school of Fine Art (UCL) on a Commonwealth Scholarship. He is currently investigating materiality (understood in a Darwinian/ Deleuzian sense) as a performative framework through which to re-think the sensory, corporeal relationship between artwork, the viewer and their sociopolitical context.

17. “Sunsets”
(20 min Screening and talk)
Lisa Tan (VALAND ACADEMY GU)

ABSTRACT: For the EARN workshop in Kassel, and as a primary way of answering the questions that were posed to myself and the other practice-based PhD participants (“understandings of artistic research”), I will screen my video titled Sunsets, and time-permitting—I will talk about it. The piece is the culmination of my first year of making work within an artistic research setting, and to a large degree, it looks at values of productivity and passivity in relation to creation—a question that takes on specific dimensions in this context. Through experimental methods relative to my practice, the piece is tied to the material, ethical, and procedural elements of the institutional framework that I am a part of, and my newfound setting as an artist working and living in Stockholm. Pointing out the specificity from which the work of art emerges, is the starting point for my own art’s contingency on a discursive relation. Sunsets, documents an informal translation and transcription (Portuguese to English) of a 1977 interview with the Brazilian writer Clarice Lispector (1920-1977). Lispector’s figurative and highly imaginative stories approach the limits of subjectivity in remarkable ways. Sunsets layers the interview with scenes that were filmed in Sweden during the liminal zone of either 3am during the summer, or 3pm during the winter. The work addresses values of productivity and passivity in relation to creation. Sunsets is the first part of a slated trilogy of video works that will constitute my PhD work, in addition to a series of associated exhibitions and pseudo-academic-cum-experimental texts.

BIOGRAPHY: Lisa Tan is an artist currently living in Stockholm. Her formal education consists of a B.A. from the University of Texas at El Pasowhere she spent equal amounts of time studying Humanities and Printmaking—and aM.F.A. from the Roski School of Fine Arts at USC (University of Southern California). She is currently a practice-based PhD at the University of Gothenburg, Valand Academy, and also a participant in the Konstnärligaforskarskolan (Sweden’s national research school in the field of arts, which started in 2010). Lisa Tan’s mother and father were both born and raised in India, and in 1972 moved to Syracuse, New York—a city that she has no relation to other than being the place of her birth. Her family then settled in the American desert southwest on the border of Mexico, where consequently Tan and her older sister were raised. She then moved to Los Angeles, living there from 1997 to 2004, and then relocated to New York City in early 2005.Tan’s works often involve a longstanding interest in persistent ontological questions, and different experiences of loss. Much of her current work emerges from her interests in literary theory, translation, natural phenomena, and in discovering worthwhile forms of withdrawal.

18. “Curating Research Workshop”
(Mixed format presentations and discussions)
Georgina Jackson –Rana Öztürk – Aislinn White (GRADCAM)
ABSTRACT: From the position of ‘caretaker’ to catalyst and producer of knowledge, the role of the curator has expanded significantly within the past twenty years so what do we mean when we speak of “curatorial knowledge”? How and under what conditions is such knowledge mobilized? Or is it, as Francesco Manacorda has proposed, that “curatorial knowledge,” rather than implying a specific content, should operate as “form: a set of interrogations that allows individuals to carve out enough critical space to find their own balance between two opposing forces.” (Scott 2011, 40) What is the difference between artistic research and curatorial research? Within the context of dOCUMENTA (13) where artistic, scientific and other knowledges come together to offer an expanded experience and understanding of the world, such questions become all the more pertinent. This workshop aims to explore the question of curatorial knowledge and research through a series of presentations of current doctoral research within the field of curating, and through discussion and debate.

BIOGRAPHY: Georgina Jackson is a curator and a research scholar at the Graduate School of Creative Arts and Media/Dublin Institute of Technology, where she is currently completing her PhD on “The Exhibition and The Political: a study in the changing terms of contemporary art exhibition-making.” Select curated exhibitions include; Neighbo(u)rhood, Mattress Factory Art Museum, Pittsburgh (2011); Nothing is impossible, co-curated with Mark Garry, Mattress Factory Art Museum, Pittsburgh, (2010);Declan Clarke Loneliness in West Germany, Goethe-Institut, Dublin, 2009; Left Pop, special project, Second Moscow Biennial, co-curated with Nicola Lees, Moscow Museum of Modern Art, Moscow, 2007. She has written for journals such as Art & the Public Sphere and Printed Project.

BIOGRAPHY: Rana Öztürk is a doctoral researcher at the Graduate School of Creative Arts and Media (GradCAM) / National College of Art and Design in Dublin where she works on her thesis with the working title Issues in Transcultural Curating: Points of Contact Between Contemporaneity and Histories. She is originally from Istanbul where she received a BA from Boğaziçi University followed by an MA in Art History from the Istanbul Technical University. In 2007, she curated Slow Space Fast Pace upon receiving the Art Trail New Curator Award in Cork, Ireland. In 2010, she co-curated Temporarily Shelved as part of the 3rd International Sinop Biennial in Turkey. She is also a translator and a regular contributor to various art magazines and publications.

BIOGRAPHY: Aislinn White is PhD student at the Research Institute of Art and Design, University of Ulster, Belfast. Her research is looking at participant collaboration, indeterminacy and new methodologies in curatorial practice. Aislinn was born in County Donegal, Ireland. She attended Falmouth College of Art in England (BA) and National College of Art and Design, Ireland (MA). She has been predominantly based in London, where she has been teaching, developing a curatorial practice and working in exhibition organisation. She has worked with various educational and art organisations including the V&A Museum, The Drawing Room, Tate Modern projects and the Koestler Trust.

19. “Inter/ Intra: Two Artists and an Audience”
Eirini Boukla –Claire Hope (LEEDS)

ABSTRACT: A negotiation between two different art practices taking the form of a scripted dialogue between artists Eirini Boukla and Claire Hope; one extended to involve the audience. The dialogue will be based on a series of informal discussions between the artists over summer, in which they seek to find common ground between their respective drawing and performative art practices through exploring their attitudes to research. As both use disparate cultural, visual, linguistic, theoretical and real life sources, as influences for and components of their work, the artists discuss and show examples of such sources and works as they consider how the contemporary experience of visual and linguistic culture, for instance, affects and forms their relationship to their art practices – practices which result in different formal outputs. (Short description for Programme: Scripted dialogue and presentation, extending to involve the audience.)

BIOGRAPHY: Eirini Boukla was born in Greece and since 2000 lives and works in Leeds. She holds an MA in Drawing from Camberwell College of Art and Design, University of Arts London (2005-2006) and currently she is a PhD candidate at the University of Leeds (2009-2013). She is interested in concepts of trace and ideas of the detached drawing conventions of tracing. She has exhibited at national and international venues including, PSL Leeds (UK), FAFA Gallery (Helsinki), Majdanpek Cultural Center (Serbia), Campo AA, Madrid Abierto, (Madrid), Oakland University Art Gallery, Rochester, (USA), SIPF, Singapore International Photography Festival, (Singapore), Technopolis, Athens (Greece), 1st Thessaloniki Biennale of Contemporary Art, Centre of Contemporary Art-Thessaloniki (Greece). Papers/ publication: Drawing on the condition of not seeing, Drawing Out 2012, Conference, University of the Arts London, Chelsea college of Art & Design. ‘Drawing Inside the Lines: the work of Eirini Boukla’ by Dr Lara Eggleton, Changing Identities and Contexts in the Arts (CICA). Tracing the image of the city, KUVA Finnish Academy of Fine Arts, Helsinki, Finland.Her work can be found in private and public collections including the Oakland University Art Gallery, the SIPF Singapore, and the Thessaloniki center of contemporary arts.

BIOGRAPHY: Born in the UK in 1977, Claire Hope is based in Leeds and London. Having graduated with an MA Fine Art from Chelsea College of Art in 2004, she is now pursuing a Practice-led PhD in Fine Art at the University of Leeds. Exhibiting internationally for 12 years, Claire produces moving image, live performance and public installation artworks. She was a LUX Associate Artist in 2007/8 and had a solo exhibition on Tank.tv in 2009. Exhibiting with Transmediale (Berlin), S1/Salon (Sheffield), Mains D’Oeuvres Arts Centre (Paris), Urban Research and Director’s Lounge (Berlin), in 2011 she produced a moving image work for LUX commissioned screening programme ‘Public Display’ and was listed as one of ‘100 Artists to Watch’ in ‘Modern Painters’ magazine. This year Claire showed work at ‘In Production’ an event at David Dale Gallery (Glasgow) and took part in the Mark Titchner co-curated retreat on ‘The Self’ at Wysing Arts (Cambridge) in May; taking part in a collaborative project, and exhibiting a 2011 video at their Open Weekend in July.

20. “(*late afternoon confusion) – Immigration humans plants animals things”
(50 min Screening and talk)
Elke Marhöfer (VALAND ACADEMY GU)

ABSTRACT: Knowledge, reflections and thoughts are poor translations of what is going on with (human and non-human) bodies in the world. Picking up on the actual time of my presentation at 4 pm, I choose the phrase (*late afternoon confusion) for a title, to describe an everyday state of mind, a tiny mental disorder, a slow flow, when consciousness and conceptual thinking withdraw and some other form of knowledge enters.I was fortunate enough to travel to South Korea to research the traditional song form of Pansori music, and to put into practice a new film project, which I would like to present and discuss.

ABOUT THE FILM: Ani, Nan DooKKeobiga Anigo Geobuk-ee Yo! (No, I am not a toad, I am a turtle!)
(Germany, 2012, 50 min, Video, Original with English subtitles). This observational film essay takes its title from a Korean Pansori song. One of three musical interludes performed in the film, this song tells the story of a turtle locked in a futile circle of evasion with a hungry tiger. The film is concerned with the formal attributes of Pansori music – its traditions of storytelling and the transmittance of an alternative knowledge. It journeys through natural landscapes, small town streets, forested mountains and busy shipping channels as it looks at the divide between the traditional and the modern. Shot in 16mm, the film is an exploration into the boundaries between humans, animals and things.

BIOGRAPHY: Elke Marhöfer (*1967 in Baracoa/Cuba) studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Since 2010, she has been pursuing a Doctor of Arts student at the University of Gothenburg. Via moving images and text, Marhöfer experiments with notions of circular nomadism and radical othering, the (a)historical and disorientations of narratives. She regards involvement within aesthetics as a taking-place of self-formation, an attainment and mediation of alternative knowledge, an active letting-happen of relations. Marhöfer’s work is shown nationally and internationally: recently at the IMAGES, film and art festival, Toronto (CA); Archive Kabinett, Berlin (DE); FCAC, Shanghai (CN); Manufactura’s Studio, Wuhan (CN); Sprengel Museum, Hanover (DE); Kunstmuseum Thurgau, Ittingen (CH); Edith Ruß Haus for Media Art, Oldenburg (DE); Periferic 7 – Focussing Iasi, Biennal (RO); Röda Sten, Gothenborg (SE). Grants she has received include: IASPIS Residency, Sweden, 2010; Lukas Cranach Video Art Prize 2007; Cité des Art International, Paris 2005; Akademie Schloss Solitude, Stuttgart 2003; Alfredo Jaar Grant 2002. Since 1990, she has lived and worked in Berlin.

21. “Vowing to Dismantle ‘The Persistent Belief in Economic Growth’:
Another leap into the void”
(Open discussion forum)
Errol Francis (SLADE UCL)

ABSTRACT: Responding to the Documenta theme in terms of critical theory raises a number of interesting questions. The curators have joined with writers such as Latouche and Macey (2009) and Groseclose and Wierich (2009) to challenge the lust for growth which seems such a necessary aspect of capitalism, by implicitly asking: ‘is de-growth possible’ or by recognising the non-progressive aspects of growth as a singular objective. By extension it is easy to see how the sale of art objects is part of the whole global structure of interminable growth to which capitalism always strives in the constant inflation of prices; and the comparative return and profits of investing in art as compared to, say, real estate, gold or stocks. … But how does this imperative of growth operate in relation to ideas? How does the academy contribute to the capitalist exigencies of ever-increasing growth in terms of the production of ideas, genre descriptions, methodologies and processes without which the art objects are robbed of their value which depend not so much upon the price of labour and raw materials as in the rest of the industrial world but upon an aura whose radiance is partly dependent on relationship of the object with an idea. And how does the succession of ideas – whether they emanate from the art academy or on the street – become part of a system which is essential for there to be a type of growth in the art market itself or the political economy of the academy?

BIOGRAPHY: Errol Francis is a researcher at Slade School of Art, University College London