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  • Published: Nov 24th, 2014
  • Category: Information
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art philosophy



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The Royal Institute of Art/Kungl. Konsthögskolan in Stockholm announces:

The International Visiting Chair in Philosophy in the Context of Art

Professor Peter Osborne & Professor Catherine Malabou

About The International Visiting Chair

Professors Peter Osborne and Catherine Malabou will share the position. It is designed to encompass a range of annual projects based on the reflexive relocation of ongoing research in modern European philosophy into the context of postgraduate education at the Royal Institute of Art. The programme will involve research taking the form of, for example, an investigation of the current state of one or two concepts central to philosophical research that have a distinct but as yet unexplored relevance to art practices and discourses more generally. These concepts may be philosophical versions of concepts that have historically been a part of art discourse – such as form, image, and the interesting (Osborne) – or they may be concepts derived from the history of philosophy or current scientific practices, such as inscription and plasticity (Malabou). In each case, the research will intervene directly in the current philosophical debates about the concepts at stake and will reflect on the experience of presenting this research within the context of art education.

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  • Published: Sep 4th, 2014
  • Category: Lecture
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peter osborne, lecture



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osborne.jpg

The Royal Institute of Art launches The Domain of the Great Bear
with: “Information, Image, Story: Some Conceptual Aspects of Contemporary Art”
A Lecture by Peter Osborne, Director of the Centre for Research in Modern European Philosophy (CRMEP), Kingston University, London

As the didactic titles of three canonical New York exhibitions indicate (The Machine at the End of the Mechanical Age curated by Pontus Hulten (1968) and ‘Information’ curated by Kynaston Mc Shine (1970) both at MoMA, and ‘Software: Information Technology – Its New Meaning for Art’ (1970) curated by Jack Burnham at the Jewish Museum) analyses of the social significance of conceptual art have tended to rely upon technologically based narratives about the changing communicational forms of modernity. Walter’s Benjamin’s 1936 account of the ‘destruction of tradition’ and the replacement of ‘the story’ by ‘information’ has provided a model here. On the one hand, the uses of digital imaging in contemporary art appear to confirm and extend such technological narratives of conceptual content (misrecognized as ‘dematerialization’ and ‘immaterial labour’), yet, on the other, they complicate them by virtue of the pervasiveness of the image.

More information: domain.pdf

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