{"id":522,"date":"2012-11-27T13:25:11","date_gmt":"2012-11-27T13:25:11","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/smfa-news\/?p=522"},"modified":"2014-03-14T14:27:55","modified_gmt":"2014-03-14T14:27:55","slug":"fine-art-research-seminar","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/smfa-news\/2012\/11\/27\/fine-art-research-seminar\/","title":{"rendered":"Fine Art Research Seminar"},"content":{"rendered":"

Film as Philosophy \/ Philosophy as Film – Andrew ConioTuesday 27th November, 17:00, Bridge Wardens\u2019 College\u00a0 room 102, Medway<\/strong><\/p>\n

The defining feature of art is that the artist can work on\u00a0 many registers at once, yet few work across, and challenge the borders and\u00a0 thresholds between, as many as Eija-Liisa Ahtila. Ahtila\u2019s work famously\u00a0 explores subjectivity; language, discourses, narratives and politics and she\u00a0 does this whilst critiquing film theory and form.\u00a0 Out of these multiple\u00a0 layers of experience, Ahtila composes precise artworks that Mieke Bal, might\u00a0 call \u2018theoretical objects\u2019.<\/p>\n

Andrew argues that Ahtila\u2019s films and installations provide\u00a0 a compelling example of how art and philosophy can reflect, transform and\u00a0 express each other. In Ahtila\u2019s work these entanglements take place not only\u00a0 through form and images but also through affect, sensation and the embodied\u00a0 experience of the installation.<\/p>\n

Andrew Conio is a writer and scriptwriter, he has published\u00a0 on a range of subjects including philosophy, architecture, artist\u2019s film,\u00a0 creativity and painting and is currently editing the volume, Deleuze and\u00a0 Guattari and Occupy.<\/p>\n

Research. For Andrew Subjectivity is likened to a flow,\u00a0 territory, clearing or trap. Language is expressive, dynamic, yielding and\u00a0 estranging. The subject becomes through agency and authenticity yet also\u00a0 through becoming-other in the world. The voice expresses all, yet is forged by\u00a0 the codes and axiomatics of capital and the body is the purported site for\u00a0 \u2018self\u2019 yet is folded in the ontogenetic and phylogenetic processes that compose\u00a0 worlds and discourses are written on the body. These questions constitute the\u00a0 \u2018politics that precede Being\u2019 that motivates Andrew\u2019s practice and writing.<\/p>\n

Andrews practice takes the form of videos, installation and\u00a0 the production of hypnotism tapes for people who wish to replace the search for\u00a0 self-expression with emersion in the collective. His 2005 film (co-directed\u00a0 with Judy Price) Refining Memory was selected as a critics’ choice by London’s\u00a0 Time Out magazine and he recently organised Deleuze and Guattari and Occupy and\u00a0 The Corporate Occupation of the Arts at the Bank and School of Ideas OccupyLSX.<\/p>\n

Andrew took his first degree in Cultural Studies East London\u00a0 Polytechnic, followed by an MA at Goldsmiths College an MPhill at the Royal\u00a0 College of Art and PhD Wimbledon College of Art.\u00a0 Andrew has taught at a\u00a0 range of UK universities, in Norway and Palestine and is currently Senior\u00a0 Lecturer in Fine Art at the University of Wolverhampton, Associate Lecturer MA\u00a0 Art and Theory at Chelsea School of Art and is an active member of the Occupy\u00a0 London Economics Working Group as well as DRUGG (Diagrammatics research, use\u00a0 and generation group).<\/p>\n

View our Research Seminar webpage<\/a>
\nView the Events Calendar<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Film as Philosophy \/ Philosophy as Film – Andrew ConioTuesday 27th November, 17:00, Bridge Wardens\u2019 College\u00a0 room 102, Medway The defining feature of art is that the artist can work on\u00a0 many registers at once, yet few work across, and challenge the borders and\u00a0 thresholds between, as many as Eija-Liisa Ahtila. Ahtila\u2019s work famously\u00a0 explores … Continue reading Fine Art Research Seminar<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":33718,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[124],"tags":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/posts\/522"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/users\/33718"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/comments?post=522"}],"version-history":[{"count":3,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/posts\/522\/revisions"}],"predecessor-version":[{"id":526,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/posts\/522\/revisions\/526"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/media?parent=522"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/categories?post=522"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/smfa-news\/wp-json\/wp\/v2\/tags?post=522"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}